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Whether you’re a writer, an actor, a cinematographer, an editor, sound designer, a colorist, a VFX artist or an animator, every project you work on is going to have to pass through post production on the way to fulfilling its creative promise. Post-production is an intricate, sometimes lengthy and always critical process necessary to turn a bunch of shots, moments, and ideas into a singular and polished product. This is no easy task, and doing it well can lead to strong and ongoing career as a post producer. And if you’re a filmmaker or creator in your own right, peeling back some of the mystery of post can help inform your own art and allow you to better create.

Despite how vital post-production is to any project, it’s often enigmatic and not fully understood. When most people think of production, they only think of a film set and are less able to visualize what comes after the film set is over. The concept of a dark room where so many decisions are made that determine a show’s eventual success is foreign to most. A successful Post Production process requires an elaborate choreographed dance between creativity, technology, time and money. Understanding what that Post Production process entails, and how your skills can best fit into it, is critical towards making whatever you do creatively more successful in the end.

Let’s explore how post production works in scripted episodic TV, one of the most prolific art forms in today’s broadening media landscape.

Brad Carpenter is an Emmy nominated producer who for over fifteen years has built a stalwart reputation as one of television’s most sought after and effective producers specializing in post-production. Brad has overseen a slew of massively successful series including HBO behemoths BOARDWALK EMPIRE and SEX AND THE CITY, Showtime’s hit NURSE JACKIE, USA Network’s critically acclaimed THE SINNER, FX’s Emmy-winning FOSSE/VERDON and most recently LITTLE VOICE for Apple TV with executive producers J.J. Abrams and Sara Bareilles. Brad continues to produce upcoming TV shows, including the new TV fantasy drama INK MAN, currently in development.

Few producers out there are as practiced and knowledgeable about the intricacies of TV post-production as Brad, and as a long-time member of Stage 32’s community, he’s thrilled to share what he knows. Brad will leave no stone unturned in this all-encompassing rundown of TV post-production, so expect to leave with a full picture of how this field works and how best you can approach it yourself.

• How TV Post Production Typically Starts
  • The first call
  • Questions to ask
  • Deciding to take the job
  • Getting to know the scripts
• Working with the Showrunner
  • How to understand them
  • Case studies
    • NURSE JACKIE
    • THE SINNER
    • FOSSE/VERDON
• Navigating the Relationships between the Studio and Network
• Balancing art and commerce
• Old syndication and deficit financing models vs. ancillary rights in international and streaming
• Common pitfalls when dealing with both studios and networks
• Building Out Your Schedule
  • How the studio sees it
  • How production and post see it
  • How your showrunner NEEDS to see it
• Breaking Down the Schedule So It All Works
  • Overall factors to consider
  • Broadcast vs. Streaming
  • Scheduling grid vs. streaming model
  • The one thing it all comes down to
• Offline Editorial
  • How many different cuts should you expect to manage?
  • Working with the studio and networking to make sure they watch the cuts
  • Working with the studio and network in receiving notes
  • The crucial Notes Response Document
  • Enhancing collaboration between your creatives and the network
• Finishing
  • The process of turning over to Sound
  • Sound spotting with the editor
  • Mix days
    • LA vs. New York
  • Turning over to Picture
    • Online
    • Color correct
    • VFX
    • Tilting
• Delivery and QC
• Building the Team
  • Finding your post supervision team
  • Finding your music supervisor
  • Finding your composer
  • Finding your editor(s)
  • Finding your music editor
• Building Collaboration and Consensus
  • Getting on board the showrunner, EPs, line producers, director, AD and DP
  • Fighting for the camera and format they want
  • Building their relationship with your colorist
• Working with Actors
  • Building and sustaining their trust
  • Directing them in ADR
  • Case studies
    • SEX AND THE CITY
    • NURSE JACKIE
    • FOSSE/VERDON
• A Day in the Life of Post
• Q&A with Brad

All levels of directors (advanced, intermediate and beginner) looking to learn how post production works in scripted episodic TV, one of the most prolific art forms in today’s broadening media landscape.

All levels of writers (advanced, intermediate and beginner) looking to learn how post production works in scripted episodic TV, one of the most prolific art forms in today’s broadening media landscape.

Producers looking to learn how post production works in scripted episodic TV, one of the most prolific art forms in today’s broadening media landscape.

Actors looking to learn how post production works in scripted episodic TV, one of the most prolific art forms in today’s broadening media landscape.