Issue link: https://digital.copcomm.com/i/691665
PRIMETIME www.postmagazine.com 18 POST JUNE 2016 so we were a little bit hesitant. Instead, this season, we did straight to drives, which is cumbersome, especially when we have publicity pulls and things like that. That's something else we're look- ing into next season, to see if we want that NAS storage." Any particular challenges on the series or major overhauls in the workflow from last season to this season? "Yes, going into 4K — it's the render time, the data management. We all knew it was coming, but you don't know until you're in the trenches. It was a little difficult this season." How big a role does audio play on the series? "Very big. It's all about creating that world and [Emmy-nominated com- poser] Bear [McCreary] has these Parisian harpsichords in the music, but also, there are these Scottish themes in there, too, so we don't forget where these characters come from. The music is such an integral part in telling the story. With Bear, it's so funny, because when we do the spots or get his notes about what he's thinking, sometimes he'll say, 'I don't think you need music in this part, just let it sit.' It's really fun- ny to have a composer go, 'No, this is good.' He's always right, though." Any major scenes you want to discuss in one of the early episodes? "My favorite of the first three is Episode 2 in Versailles. I thought they did such a stunning job. It all came together — the costumes, sets, one of my favorites pieces of Bear's. Then we end on this fireworks display, which is a huge visual effects scene. We shot fireworks in Scotland and it was raining and lighten- ing. We had to delay it for two weeks, but visual effects really came through for us in the end. That was one of my favorite episodes." What stands out for you the most about working on this show? "The best part about this show is that everybody wants it to look and sound and be as authentic and beautiful as it possibly can. When you're in the trenches and you're thinking you're never going to finish this, it's great to have the support from our producers." Season 2 was shot on Arri Amira and Sony F55 cameras, and edited on Avid.