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www.postmagazine.com 2 POST NOVEMBER 2016 ast month, we filled our pages with coverage of new Fall TV series, including Timeless, Westworld, Designated Survivor and MacGyver. We continue this month, with NBC's hit series, This Is Us (see our "Primetime" column on page 12), which has already been extended beyond its initial 10-episode run. The show is produced by 20 th Century Fox for NBC and undergoes post production on the Paramount lot and at Technicolor, with CBS Digital handling visual effects. A lot to keep track of, huh?! Craig Weiss, executive creative director and VFX supervisor at CBS Digital (www.cbsdvfx.com), says the facility he helped develop 25 years ago is both autonomous and studio agnostic. They can work on CBS projects, as well as those outside the network. "We started around 1993," Weiss recalls. " I was hired as an artist in the art department and there was an early need to make use of some visual effects. I was the guy who made stop-motion animated movies with his Super 8 as a kid, so when an opportunity presented itself back then, I jumped." CBS Digital is providing VFX for ABC's American Housewife and Amazon's Transparent, in addition to NBC's This Is Us. "People really come to us because of our depth of technolo- gy and our creativity," says Weiss. "Our core business is visual effects. We also have a pretty big stake now in virtual reality." In addition, CBS Digital offers color correction and Blu-ray DVD manufacturing. Another often sought-out service is previs. "Previs [has] really just been relegated to feature films because of budgets and time, but we've made an effort to bring it into the television world because it is so instrumental," says Weiss. "TV shows happened so quickly — from pre-production to shoot to post production — and the visual effects are such an integral part of these shows now. The directors come in and they really don't have time to understand the process or know how it works. It's our job to educate them so everything goes really seamlessly." This Is Us calls on the studio to provide 'invisible' effects. Examples include creating a 1970's-era fire station in Pittsburgh, and producing backgrounds featuring Ellis Island and the Statue of Liberty circa 1900. "They want everything to be seamless and really undetectable," says Weiss of the show's VFX requirements. "It's such a wonderful story that has a great narrative, and the idea there is just to support the story. We help solve a lot of those problems they run into in production." very November, Post speaks with some of the industry's leading studios that take great pride in their film restoration work. Classics such as The Graduate and Romeo & Juliet are getting makeovers, so to speak, so they can be enjoyed and rediscovered by today's movie lovers and new generations to come. In this issue, Post's Christine Bunish speaks with the studios behind those timeless films (page 26) — Harbor Picture Company, which com- pleted the color grading for The Graduate and Roundabout Entertainment, which addressed dirt, tears, scratches and gouges for Romeo & Juliet along with Paramount Pictures' Archive Preservation group, which created new 4K scans of the original 35mm camera film negative. NBCUniversal restored the culturally significant King of Jazz, while Cinelicious helped bring back what was considered a "lost" film, the noir thriller Private Property. Personally, I wish we could cover the topic more frequently, as there's something really special about giving these classics new life — so they can be rediscovered by younger gen- erations and enjoyed all over again by those who already love them. In this same issue, we're also looking at a number of films that were big winners this year (or, are expected to be) with audiences and critics alike, and are already getting a good amount of early Oscar buzz. On pages 20 and 21, Post highlights some films showing outstanding work in visual effects, editing, directing, cinematography and more. Our "Visual Effects" column looks further at Doctor Strange (page 14), "Editing" covers Hacksaw Ridge (page 16) and "Director's Chair" features Loving (page 18 and on our cover). Point being, when nominations are made and awards are handed out next year, and the industry is cel- ebrating both nominees and winners for their outstanding contributions in film, I hope that moviegoers and the industry alike remember these fine pictures in, say, 50 years from now. Or more. Our film preservation techniques and technologies are undoubtedly more advanced today. So, even as we move further into 4K, 8K and other new formats that are coming down the road, let's hope today's greats will be enjoyed by new audiences for years to come. 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