Post Magazine

July 2014

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Page 23 of 51 22 POST JULY 2014 DEPARTMENT Emmy Contenders MODERN FAMILY HOLLYWOOD — Modern Family, which will be entering its sixth season on ABC this fall, has been hailed from the start as one of TV's funniest, best-written and best-acted sitcoms. The show, which highlights three very different, yet related families and their ups and downs in a unique and comedic manner, has earned an array of awards, from Primetime Emmys to Golden Globes. In this issue of Post Magazine, on page 15, we take a look at color correction — a more subtle, yet important element that lends itself to the show's unique documentary-style approach. According to the show's colorist Aidan Stanford of Modern VideoFilm, "The look of the show is to look like there is not a look — it's supposed to be documentary. I know DP Jim Bagdonas (ASC) has gone a touch more theatrical with his more recent lighting, but still keeping the original look of the show." While Modern Family is shot single camera on the Arri Alexa, Stanford relies on many of the tools in Blackmagic Design's Da Vinci Resolve for color grading once in post to achieve a "very clean, neutral look that at times can be more difficult to achieve than a show that has a heavy look," he says. ORPHAN BLACK TORONTO — BBC America has generated some buzz with Orphan Black, from co-creators John Fawcett and Graeme Manson, which, after just having wrapped its second season, has already won and/or been nominated for a host of awards. These include Golden Globes, Canadian Cinema Editors Awards, Critics Choice and a recent 2014 Canadian Screen Award for show editor, D. Gillian Truster, for "Best Picture Editing in a Dramatic Program or Series." The show, which follows street-wise hustler Sarah Manning (played by star Tatiana Masla- ny) as she uncovers a mind-blowing secret that she's one of a series of genetically-identical individuals — otherwise known as clones — features multiple noteworthy scenes where Maslany portrays not only Manning, but any number of her clones. "People want to know, how are the clone scenes done?'" says Truster. "They definitely add an additional complication to the editing process." She explains that through a bit of a com- plex process that involves carefully blocking out the scenes with Maslany, a motion-control camera, and capturing several takes with Maslany playing each of the clone characters, she cuts the performances together on an Avid Media Composer. "When we get the [Arri Alexa] footage, and we're cutting those scenes, we're creating the master shots. We're picking takes and doing sort of a temp composite to see how it works." Look for our full-length interview with Truster in an upcoming issue of Post. LOUIE NEW YORK — FX's Louie stars comedian Louie CK in a semi-fic- tional version of his life, where he splits custody of his two young daughters while working as a stand-up comic in New York City. The show is shot in 4K with a single Red camera — first an Epic and more recently a Dragon — and is cut by the star using an Avid Media Composer working at DNxHD36 resolution. Ryan Cunningham is the show's post production producer and is responsible for overseeing everything that takes place from when the media leaves the camera until the final delivera- bles are sent to the network. Running Man Post in NYC handles dailies for the show, which Louie CK is able to view in his home theater. The show has a very natural look, and Cunningham says Louie is OK with leaving scenes dark if that's how they appeared on-set. Parabolic in NYC pro- vides audio post. BY MARC LOFTUS AND LINDA ROMANELLO

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