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October 2016

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POSTING EPISODIC TV 25 POST OCTOBER 2016 We need a color corrector that's fast, efficient, powerful and can process everything in realtime." With episodic TV's quick turnarounds, Resolve's collaboration mode is particularly "handy," Ferstl notes. "Resolve allows concurrent workflows. For the pilot, we were conforming on Resolve in one room while I was coloring in another and asking my assistant to track windows on a third system, all working from the same project. This means I was receiving the instant conform changes and VFX updates while the conform artist was always looking at the latest color. It's an amazing workflow." He also likes V.12.5's onboard VFX, which he has used to add glows around candlelight and atmo- sphere, and light rays coming through windows. "The VFX use the GPU power of the system to do everything in realtime with no rendering or cach- ing," he explains. Company 3 online editor Heydar Adel conformed the pilot on Resolve; online editor Joe Ken is con- forming subsequent episodes on Autodesk Flame. WESTWORLD HBO's Westworld is that rare thing on 2016 televi- sion: a film show. Based on the eponymous 1973 feature film, the sci-fi thriller about a futuristic theme park populated by robots is shot on 3-perf 35mm at Santa Clarita's Melody Ranch, Paramount Ranch, other locations around southern California and in Utah's Castle Valley. Series co-creator Jonathan Nolan (known as Jonah) directed the pilot and "was intent on shoot- ing film," says Stephen Semel, who edited the pilot and co-produces Westworld with Bruce Dunn. "He wanted a big cinematic look, and the look of western exteriors is different on film than on digital." "The turnaround on film dailies is a little slower than what we're used to with the digital workflow these days, but it's only by hours," notes editor Andrew Seklir, who also cuts the AMC series, Turn. He last worked with film on the pilot for Monk. Semel's last film show was Lost. FotoKem Burbank processes the Westworld film and Encore Hollywood scans the dailies and delivers Avid DNx 36 files to editorial in Burbank. Editors cut on Avid Media Composers V.7.04 with Avid ISIS shared storage. "During the pilot, when we had the luxury of a more relaxed schedule, we made [Apple] ProRes versions of all the dailies and screened them during crew lunch on-location," Semel recalls. "My assistant and I would drive out to the set and watch them in a trailer with Jonah and DP Paul Cameron, ASC, and the other department heads, HBO's Westworld is shot on film. Westworld is shot on film. Westworld Encore creates DNx files for editorial. Atomic Sound handles audio post. Editor Semel

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