Issue link: https://digital.copcomm.com/i/600849
42 CINEMONTAGE / FALL 2015 explains. "This meant more dialogue on camera and very close attention to pacing — so that the timing is just right and the fullest effect of the joke is realized. The transition between drama and comedy, while still present, no longer had the sharp edges it did in the early years." When Nash took over as showrunner in the fifth season, she was "looking for ways to shake it up and put a little spin on the series," as Luckey puts it, adding, "For post, that meant shifting the editing toward the drama style and focusing on new interpersonal relationships with all the characters." Regardless of which direction the tone tilts, Siegel still finds the challenge with Rizzoli & Isles continues to be finding that balance between the dramatic moments and comic ones. "Playing the beats that keep it all real, while maintaining a sense of fun; that is key," he says. The editor notes that the discussion begins with a production and tone meeting for each episode, attended by Nash and executive producers Gregory Prange and Kevin Cremin, as well as the writer, editor, cinematographer and post- production team. All three editors point out the important role that composer Jimmy Levine has had on the series. "We've been using Jimmy since the beginning of the series, and he's a big part of the editing style and tone of the show," says Strand, who notes that when Nash took over as showrunner, she also asked for musical changes. "Jimmy was asked to change the music a little with different instrumentation in the comedy scenes and our new emotional focus," explains Luckey. "This was the first time I had the opportunity to ask a composer to help us with custom cues during the editing process, which is really beneficial." The show's workflow also sets it apart, says Siegel. "One of the great things about shooting and editing in Los Angeles, and on the same location at Paramount Studios, is that the lines of communication are kept open between all departments," he says. "I can walk to the set and have a conversation with the director about the dailies that I'm cutting. It's a great benefit to be able to become familiar with the entire cast and crew, including actors, producers, writers, directors of photography, sound recordist, Steadicam operator… all the way to craft services. This not only makes for a better show but for a much more enjoyable working environment." At the end of each shooting day, the camera cards are sent from production on the Paramount lot to dailies colorist John Heitmann at NBCUniversal Studio Post Facility. Siegel notes how important it is to know if production is going to be late or if a camera is different than the production's ARRI Alexas was used. "We need to communicate with John regarding any special timing instructions or specific needs," he says. "He sends out screen grabs to the DPs and to post to show what the material looks like outside of the DNX Avid Compression, to ensure we have a better idea of what the footage looks like from his SMPTE Monitor-calibrated system." This information is also passed on to the final colorist, to give him a heads up on what the cinematographers, post personnel and producers are looking for, and an idea of the color palette for the final color correction. "If we're shooting a particularly long day, then we will ship the cards when the production breaks for lunch and process this footage first, to get a jump on things," says Siegel. "We have a walkie-talkie with a live feed set in the post bungalow where we edit, so we can monitor the shooting crew and production." Mark Strand. Rizzoli & Isles. Warner Horizon Television CONTINUED ON PAGE 44