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September 2017

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www.postmagazine.com 13 POST SEPTEMBER 2017 POSTING WEB SERIES ast month, Post went into the sound studios to speak with the audio pros behind some of the biggest hits from streaming giants Netflix and Amazon Prime. This month, we revisit the topic by speaking with some of the video pros who are posting Netflix's GLOW, Hulu's The Handmaid's Tale (nominated for 13 Emmy Awards) and one of the newest streaming series, Ozark (Netflix), about shooting, editing, color grading and navigating HDR for the first time. GLOW Show producers and creators Liz Flahive, Carly Mensch and executive producer Jenji Kohan (Orange is the New Black) recently received some great news about their new Netflix Original series, GLOW — The Gorgeous Ladies of Wrestling — that the cast and crew would be returning to the ring for a second season. With the first season just released this past June, Netflix had already announced by the end of the summer that it had renewed the hit series for a Season 2. The 10-episode first season, based on a true story, is set in and around LA in the 1980s, and follows the lives of a group of women as they become wrestling's newest celebrities. Part comedy, part drama, the series stars Community's Alison Brie and Nurse Jackie's Betty Gilpin. According to Ashley Glazier, associate producer on the show (who also worked on ABC hits Castle and Private Practice), GLOW's production was overall quite smooth. However, there were one or two smaller chal- lenges for the post and production crews. For starters, it was the first time that much of the team had worked on a series in HDR. "Creating the show in HDR was a great experience," she says. "It's a really great new way of coloring and seeing the difference. It's one of those things where I feel that until you see the comparison between HDR and non-HDR, you don't really understand what the difference is. You think it looks great as is, but then you see it in HDR and you're like, 'Oh wait!' It's very similar to when we made that jump from standard def to high def. You think everything's fine, but when you see it side to side, you really see the difference." She continues that while HDR really allows you to "push the colors and get colors out of it that you wouldn't normally be able to," that with GLOW, "we didn't expand the color palette too far beyond what the mass viewer, who is still watching in SDR, would see. At the end of the day, it was still important to all of us that the majority of our audience was able to see and appreciate the show looking great. In post, when we were in color, it was one of the things we would watch closely — we would watch the show in both SDR and HDR so we would know and see firsthand how both Netflix subscribers would see it. "HDR was a new concept to grasp and everybody was really happy to jump in and try it out. At the end of the day, everyone was really happy with it. It was a great learning process. Netflix wants all of their shows to be HDR, and they were great through the whole process. They really walked us through. Also, we posted at Light Iron in LA, and they had done HDR previously, so they were terrific to work with. Between Light Iron and Netflix, it was a great experi- ence. I think everybody was a little worried, since it was everybody's first time, that in the post process we would hit these hiccups but it really went very smoothly and everybody was very happy with it at the end of the day." Glazier says that an- other challenge of the pro- duction was maintaining the overall look and feel, to keep with the show's time period — the 1980s. "As much as you think of the 80s and neon and those colors, Carly and Liz, our show's creators, really L Netflix already ordered a second season of GLOW, which just premiered in June. GLOW's Glazier

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