“What’s happening with this Zoom editing situation is, if you can imagine, I’m sitting at home looking at my computer monitor, and I’m seeing the entire editor’s screen on the other end.
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We weren’t able to get ADR either because the actors have to go into a studio, I know people are figuring ways to do it at home, but it’s not the same as having a full sound stage.”Ĭaspe and Cahan are having to finish editing season 2 via Zoom, which the former describes as an “eye-opening” experience, in a good way. “We weren’t able to mix them because that takes a room of five people. “We had finished editing everything with the exception of the finale, we were so close, but we couldn’t do full post-production on the last four,” explains Caspe. As a result of the disruption, Showtime has been forced to split the season into two, airing the first six episodes as planned, and then the final four from June 28. “Black Monday” managed to dodge one bullet by wrapping production on Season 2 before the shutdown, but then ran straight into another when it came to post-production.
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Ensuring that the “language of the series feels like a seven or eight-part piece” is key, Wiseman says, especially given the fact that Hawke is an artist who is “always pushing everything he works on to the very edge.”ĭavid Caspe and Jordan Cahan, the showrunners of another Showtime series, “ Black Monday,” are becoming all too familiar with the intricacies of editing a show in self-isolation. “We were able to build a soundproofed, calibrated, 5.1 room for Pat (McKinley, our editor) – a ‘mini-mixing stage’ of sorts – allowing him to continue supervising sound mixes and to remain working closely, but remotely with the sound team,” says Gold.Īs far as editing goes, Wiseman, Gold and Hawke have been working remotely with executive producer McKinley, who is holed up in his bungalow workspace in Venice. Sound mixing has proven the biggest hurdle to jump over, explains Wiseman’s fellow co-president Jeremy Gold, because it requires recreating the complex audio formats that mixers would have been presenting to the producers on a normal mixing stage. A lot of things can be done remotely, but sound is particularly challenging and we were able to figure it out.” “But we have been able to build a delivery schedule where we will be able to deliver the show for when they want it and that took a lot of ingenuity, particularly in the sound area. “Showtime was very concerned that we could maintain the quality for a premium limited series with everything going on,” says Marci Wiseman, co-president of Blumhouse Television which is producing the James McBride adaptation. While “Westworld” has a strong foundation of fans who will watch the show no matter how dusty it may look, Showtime’s upcoming “ The Good Lord Bird,” starring Ethan Hawke, is having to find its visual style on the fly amid the chaotic situation.
But the VFX team, the sound team, everyone has been incredible in pulling this off in a somewhat improvised fashion,” Nolan says.
The last couple episodes, I’m very proud of them, I think they came together very nicely, but we don’t have the luxury of all the different toys we would get to play with. “We’re allowing dust and scratches on the film to go through, where usually we would get in there and clean them up a little bit. Nolan admits that while they have been able to “execute post to the very high standards” that the show demands, minor sacrifices had to be made.
Nolan says he finds coloring to be the hardest part of post-production at the best of times (mostly because he’s partially color blind), but completing the process “over a slightly shoddy internet connection” made things even more complicated. “Westworld” would usually carry out sound mixing in Atmos on a giant sound stage, but for season 3, Nolan and Joy had to mix in stereo because such facilities were no longer available. “Turns out that a car can be a pretty good sound booth in a pinch,” Nolan says. For instance, almost all of the core “Westworld” cast were asked to finish up ADR on their iPhones, and according to Nolan, Thandie Newton even resorted to recording audio and video footage in her car. However, no level of foresight could have prepared them for the scale of the shutdown, giving way to plenty of improvisation and compromise.
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