2020: POST AT 6 OR 60,000 FEET APART!

Although we never envisioned slinging hand sanitizer, masking, and homeschooling as a part of our feature-color-finishing or TV-series-mixing process, we welcomed this new level of collaboration and fully immersed ourselves in the one thing we did see coming in 2020: remote post-production workflow. 

Over lockdown we worked on a variety of features and series, from Dirty Jobs: Rowe’d Trip (Discovery) to Electric Jesus—”the 80’s hairband music-comedy you’ve been saving yourself for”—from Season 10 of Sunday Best and TIFF-featured documentary 76 Days, to post-finishing GA’s FIRST and very TOP SECRET Netflix Original Series mixed in Dolby Atmos and colored Dolby Vision HDR (more details to come!). Using a combination of collaboration tools already in our arsenal (Evercast, Streambox, CineSync, Slack, Asana to name a few), we began the spring quarter of 2020 conforming and coloring feature films with Flanders HDR monitors in our home offices and sound mixing series in our 5.1 above-the-garage studios. In the summer, we opened virtual cutting rooms for several series that resumed shooting and put editors to work at home. Now, as we roll into fall—that fall weather AM-I-RITE?—it seems that Hollywood productions are safely resuming shooting, and our entire post team is preparing for Shudder’s CREEPSHOW Season 2 with another remote hybrid setup.



Listen to the Atlanta Film Festival Virtual Panel Discussion on Post Production in the Age of Covid with our very own Drew Sawyer, who discusses how we quickly learned there are powers in limitations, and how our story-telling skills flourished in the remote world.