Color and Post on Social Distance,
Netflix’s New Anthology Series

By Daniel Restuccio

Netflix’s Social Distance is a new COVID-themed series brought to you by executive producer and creator Hilary Weisman Graham (Orange Is the New Black). For this eight-part fictional anthology, Graham and her team focused on how lives have been changed during the isolation of the pandemic. It shows how people and their families are coping during this very stressful time, and while there is sadness and loneliness, there are laughs, love and acts of kindness.

Each episode features people interacting on what appears to be a Zoom call, but there are no blurry pictures or dropped audio. In fact, the series features production values that rival any traditionally produced show, thanks to some slick and clever producing and post workflows.

The series started shooting with the Canon C300 Mark II (XF-AVC, 4096×2160, 23.98fps) and then switched to the iPhone 11s (3840 x 2160), using the FilmicPro app and the Log codec add-on. Adding to the series production value was a significant amount of VFX — 388 VFX shots and 51 unique graphic interfaces across the eight parts.

We caught up with Light Iron’s head of workflow strategy, Katie Fellion, supervising colorist Ian Vertovec and post producer Ashley Glazier, to talk about the technology that made the eight 22-minute episodes possible during a tight production schedule.

What computer system and software did Light Iron dailies colorist Greg Pastore use to process dailies?
Fellion: Our dailies colorist Greg Pastore used Colorfront’s Express Dailies
to color and process the dailies. Our archive and data management was handled by YoYotta.

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