So here we are at wrap. Episode 13 is in the can. All that’s left is another five months of post production. So let’s talk about that.
Today, Naren Shankar and I spent most of our day over with the Visual Effects folks doing approvals on the episode one and two effects. Episode two is especially effects heavy, with a lot of complex choreography in the story telling. Even at this late stage, we’re still tweaking the exact staging. Keeping in mind, of course, that altering these mostly rendered effects comes with a hefty price tag. So sometimes you have to let the less egregious things go.
Naren is also spending a ton of time in editing. We have all the footage from 13 episodes. We even have cuts in one form or another of the first 12, with the last one due in a week or so. But going from a rough editorial assembly cut to a director’s first cut to the producer’s first cut to a studio notes cut to a network notes cut to a final producer’s cut to a broadcast locked cut is a long and winding road. Naren, along with a small army of editors, will guide the show along that road.
We’re also doing our first sound spotting sessions, where the sound design team begins crafting the sound of the show and recording the additional dialog or looped dialog we’ll be putting in. On our show, nearly every scene with people in helmets means a loop session to rerecord all the dialog.
And now that we have soft locks on most of the episodes, our music composer Clinton Shorter can start working on his score for the season.
And finally, we’re spending some time talking about where all this goes in season three, so fingers crossed for that. Hope you all had fun going on this trip with us.