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June 2015

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Page 18 of 51 17 POST JUNE 2015 Hollywood, they were being synced to the ISIS in Pennsylvania and New York. What that allowed us to do was get the heavy lifting or the copying done. Imagine we are going to a farm in rural Pennsylvania — it's not as if you have a ton of high bandwidth there. So we had to sync the dailies there and got them there as quickly as possible, and then the AEs would come in and organize them. And as they organized them here in Los Angeles, then they would have them organized when the editors came in be- cause they didn't have to wait for them to be organized and synched, and sit there waiting for files to download, and it's the afternoon by that point." How are you able to sync files between locations? "We are using a combination of tools to make the remote workflow happen. For the ISIS, we are using StorageDNA to do some remote file things between the three different locations. Part of the process was defining the strict workflows with the editorial staff so that we know that the AE in Pennsylvania has a work- space that is synched back this way. "Imagine the AE in Pennsylvania digitizes some sound effects cuts or did some After Effects work or Photoshop — he needed that to come back to Los Angeles so LA always had a full copy of the media. While the media in Los An- geles, which would be dailies and other work that the assistants [did] on other episodes in Los Angeles, still had to go to Pennsylvania and New York." There's an ISIS in each location? "Correct. We were defining workflows and workspace management, and synch- ing between the three by setting up rules of what gets synched where." Did FotoKem handle the finishing? "It was done at Keep Me Posted — that's a FotoKem facility in Burbank." Once it's set up, is the workflow pretty foolproof, or can there still be problems? "It's pretty robust. I think the hardest part is making sure people are putting things in the correct place. When you are local, and you move something to the wrong drive, it's not necessarily that big of a deal. When you are remote, it could be a bigger deal, because you might not have the correct soundtrack for a cut. And you have studio execs coming in for a cut so you want to make sure everything is there. I'd say it's a combination of the technology and our service staff making sure it's seamless for them when they need it." What kind of files were being sent from production? "They were receiving DNX files from the dailies facility up in Vancouver." Studios collaborating is nothing new, but this workflow was a bit different? "The part that was unique was that we had this whole 'synchronizing' happening in the background. But from the synchro- nized editorial, they have playback [capabilities] from each of the locations. Each of the locations had the Avid SDI output encoded back to a secure media server so that if M. Night was in his barn playing back a cut and they wanted studio execs to screen it, that was coming out of his Avid there. And because production was in Vancouver, and he was in New York or Pennsylvania, or then Los Angeles, and the visual effects house was in Vancouver, they would often use that capability to just play through an edit and then collaborate and do visual effects spotting sessions or editorial reviews that way as well." PRIMETIME FotoKem set up multiple locations with ISIS storage and Media Composers.

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