“TRUST AND BLOOD”

WARNING: THERE IS A CLEAR AND PRESENT DANGER OF SPOILERS BEING CONTAINED WITHIN…

Hello and welcome back HEROES-fans. Tonight we bring you another chapter in the fourth volume of the ongoing saga called HEROES. Tonight’s episode was written by Mark Verheiden and was directed by one of our executive producers and frequent directors Allan Arkush.

Mark Verheiden is new to HEROES but probably not to you. He and I worked together on the first three seasons of SMALLVILLE. He is an all-around nice guy and a pleasure to work with.

One of the things I enjoy doing with this blog is using it to introduce you to some aspects of the filmmaking process that you may be unfamiliar with. A critical but often little-thought-about step in the process is that of color timing. Color timing (and I don’t know why it’s called “timing”) is the process in which, after the film has been edited and the visual effects are completed, the show is rectified in terms of its color and overall look. In color timing (also called color correction) every shot in the episode is adjusted and unified so that it (a) goes with all the other shots around it and (b) looks just right.

Every one of us executive producer types overlaps each other in many job categories. For instance Dennis Hammer, besides working hard on prepping the show, the story and the budget, loves to deal with advertising, promotion and all of those kinds of things. Allan Arkush, besides his many other duties, loves to deal with postproduction and especially music. And I love all things to do with the visual design of the show – so I spend a lot of my time with the production designer the directors of photography, and I enjoy overseeing the color timing of each episode.

The color timer on the series is named Scott Ostrowsky. He has been aboard since the pilot. Tonight I interview him.