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www.postmagazine.com 16 POST JUNE 2015 ox's new 10-episode series Wayward Pines saw its broad- cast debut on May 14 th , but viewers that downloaded the "Fox Now" app were able to watch the premiere episode on- line two weeks earlier. Produced by M. Night Shyamalan, who also directed an episode, the series stars Matt Dillon as government agent Ethan Burke, who was sent into the field to investigate the disappearance of two missing colleagues. A car accident leaves him hospitalized in Wayward Pines, ID, a peculiar small town that appears to be trapped in time. Soon, he finds himself with a growing number of unanswered questions and the inability to leave its limits under his own free will. Wayward Pines also stars Terrence Howard as Sheriff Arnold Pope and Juliette Lewis as a local resident who too, can't seem to escape the town's grip. FotoKem (www.fotokem.com) provided a range of solutions for post production of the series, which was shot in Van- couver using Sony's F55 (4K/2K/HD) camera. Director M. Night Shyamalan worked out of his barn in rural Pennsyl- vania, and the show's editor set up shop at FotoKem's New York studio. Keep Me Posted in Burbank handled finishing services for the series. Post had a chance to talk with Fo- toKem's VP of technology, nonlinear ser- vices, Jon Mauldin, just before the series premiered. Here, he details the challenge of connecting numerous locations and making sure each had that same material as the show came together in post. What was the biggest challenge on a show like this? "The biggest challenge was the multiple locations, and that was dictated by peo- ple's schedules and other projects that people on the show were working on. We had production in Vancouver. We had editorial in Hollywood, that was hap- pening here, and we had the director in Pennsylvania doing his next project and wanted to work from home. And then we had an editor that wanted to work in New York during part of it. Our challenge was: 'How do we make it seamless for everyone and also provide some ER/di- saster recovery capabilities if there was a problem with editorial that was working out of a barn in Pennsylvania?'" What was the first step in addressing all of this? "Bridging all of that. That was the first challenge of trying to make sure every- one had everything, and that it stays right. So if an AE in Los Angeles throws in a sound effects library, the editor in Pennsylvania, or when she was in New York, has that same sound effects library everywhere she went. "On top of that, not only did we want people to have access to the material in all of the places, we needed them to be able to work with each other from different places. We want the edit bay in Los Angeles to be able to play a different episode to the director in Pennsylvania. Or the editor in Los Angeles to be able to play a cut and for them to be able to have realtime collaboration." What is the show's status at this point? "Editorial is wrapped on it. They've been wrapped for a little bit." Did you have to send gear into the field? "We provided systems for editorial in all of the locations they were at. Locally, they were in one of our buildings, tied to our network for all of our services. In New York, they were in our offices in Colum- bus Circle, and we provided editorial gear there. And then in Pennsylvania, when we went to M. Night's barn, we installed sys- tems and shared storage, and supported that integration remotely as well." What were they using for editorial? "They were on Avid Media Composer with ISIS shared storage." The show was shot with Sony's F55? "I think that was dictated by production and the DP, and what they were more comfortable with, and the look that they were trying to establish." How was media being sent to each location? "They were using a secure file transfer. What happened with the workflow is the dailies would land here in Hollywood in the middle of the night, so as dailies were coming in, the staff would be organizing them and prepping them in the Avid. There was a little bit of a challenge be- cause of the time change. "As soon as we got the dailies in FOX'S WAYWARD PINES BY MARC LOFTUS FOTOKEM HELPS SET THE WORKFLOW FOR THIS 10-PART SERIES F PRIMETIME The series was shot using Sony's F55.