Issue link: https://digital.copcomm.com/i/398272
www.postmagazine.com 27 POST OCTOBER 2014 3. The system is particularly interactive when he's working alongside Cannon. "It's fast and powerful," he says. "It does background rendering so there's no time waiting for rendering when Danny is here. When I get to the end of the show, it's ready to go." He also cites Nucoda's "great tracking and windows and image stabilization, although I don't use [the latter] a lot on this show. I use [GenArts'] Sapphire plug ins: Glow is great for little accents. Nuco- da's noise reduction is big, and I use the dirt fi x tool to clean up digital hits you can get with Alexa." The system also "works from any fi le format," he adds, which makes it easy to handle MXF fi les sent from Avid editorial and drop in shots arriving as AAF fi les. Encore Hollywood, a Deluxe Entertain- ment Services company, conforms and fi nishes Gotham. Westerbeck also does another color pass for new media distri- bution, tracing color back to the original fi les for versioning. LEVEL 3 — THE FLASH The Flash, which premiered on The CW, spotlights the eponymous DC Comics superhero who works as a police foren- sic investigator by day. The production, which shoots in British Columbia, posts with Encore and Level 3 Post, both companies in the Deluxe Entertainment Services network. Encore Vancouver does the dailies pass, Encore VFX in Hollywood crafts the VFX, and Level 3 Post (www.level3post.com) in Burbank does the color grading and conform. Level 3 senior online editor Brett Truett is the lead online editor for The Flash. The offl ine is done by show editors working in LA on Avid Media Composers; Truett conforms from ProRes 444 fi les generated by Arri Alexa. Truett's online bay features both an Autodesk Smoke system and an Avid Media Composer. "Most of the conform is actually done in Avid, including clean up and fi xes and lighting eff ects," he explains. "I process fi les in Smoke. We create a DPX stream, which makes it very easy to update shots — it's similar to a tape workfl ow but with the advantage of speed. The conform is all about making the process as quick and transparent as possible based on the workfl ow we de- veloped. We're in charge of making sure the DPX stream is current and the Log color space is managed for the colorist." After Truett publishes the conform, colorist Ken Van Deest is able to access all of the show's original raw media along with the dailies from Encore Vancouver, which he can use as a jumping-off point if needed. Working in Resolve, Van Deest can work on media simultaneously with Truett thanks to Level 3's infrastructure. When Truett drops in VFX shots from Encore Hollywood, they immediately appear in Van Deest's timeline. Truett says this Alexa fi le-based work- fl ow is now Level 3's primary workfl ow. "We worked closely with Avid to maxi- mize effi ciencies for load and conform," he reports. "The job has become a lot more technical without losing the creative vision of the show," Truett says. "We're managing color and fi le formats. Atten- tion to detail is more critical than it ever was. The level of expertise required has gotten a lot higher." TECHNICOLOR-POSTWORKS — GRACEPOINT Gracepoint, Fox's re-imagining of the UK's critically-acclaimed hit crime drama, Broadchurch, premiered with David Tennant reprising his starring role. Shot in British Columbia (doubling for North- ern California) on Arri Alexa, the series concentrated its post production at Encore Hollywood's colorist Paul Westerbeck (inset) uses GenArts Sapphire plug-ins and a Nucoda Film Master on Gotham. PHOTO: MEGAN KAY SADLER Level 3 senior editor Brett Truett (inset) serves as lead online editor for The CW's new series, The Flash. POST FOR TV SERIES