Producing : Post - Ask Me Anything (AMA) 1/6 to 1/7 by Brad Carpenter

Just released on Netflix. Eight part heist story told in eight parts. The first seven episodes will be watched in random order, culminating in the heist, episode which brings all the clues together.

Full list of credits can be found on my IMDB:

https://www.imdb.com/name/nm0139283/?ref_=nv_sr_srsg_0

Hey Brad Carpenter thanks for being here. Nice to meet you. What is the most challenging thing about Post Production?

Great question, Martin. The most challenging thing about Post is planning far enough ahead to give yourself as many Plan As, Plan Bs, Plan Cs, etc so as to be able to deal with the many unexpected turns in the road that will inevitably come up. I start prepping with Production and the Directors in the early stages, but even with lots of preparation, you never know what you problems may come up during each day of shooting. Post is always at the effect end of everything, and we cannot call it a day until we've solved each problem, because everyone expects us to "fix it in Post." My job is to make sure we hoard enough time, resources and talent to solve each issue and make the show the best it can be.

Congratulations on Kaleidoscope, that's on my weekend watching list! Brad, you've been part of the Stage 32 community since the beginning and we love having you here. I have a couple of questions for you:

1) you are a creative yourself and one hell of a talented writer, how do you balance the stress of the day-to-day producing and overseeing the moving parts of post-production and find time to be motivated to do your own writing?

2) When working with international post-production teams, how do you effectively manage the work flow when people are on different time zones, and how do you ensure delivery is seamless for a streamer when you may have multiple teams overseeing a project?

Thanks for doing this Brad!

Hi Brad, thank you so much for being here! When you’re crafting a show like Kaleidoscope and you’re trying to figure out all of the moving parts while also making it possible to watch in any order — when you’re developing in those EARLY stages, do you start with the characters, the structure with all the beats of the heist, or the sort of “magic trick” that usually comes at the end of a heist story? (Or something else?) And why

Hi Brad! Congratulations on the release of Kaleidoscope and thank you for taking the time to do this AMA! I'm curious to hear how your producing journey began and what you would recommend for those looking to embark as a producer in the business?

Greetings Brad, and thank you for your time and effort.

When creating a series pitch deck/bible, how important is it to spell out each season after the first (say through the first 5) once one's written the pilot? I've been told just the first season with episode synopsis then a broad idea of where the series can/will go because things change; others mention it's best to spell out the themes for each planned season after the first. I've done both with the series I've written pilots for.

Hi Brad, Very interesting. Best, Jed.

Thanks for having this AMA, Brad Carpenter. Congratulations on all of your success! "Kaleidoscope" looks so unique and exciting! I'm curious. Do producers usually visit movie and show sets? Or do producers just get reports from directors and crew members about how things are going on set?

Hello, Brad. Happy New Year! It is lovely to see you on here. What a gift to share wisdom with a creative collective community. Congrats on Kaleidoscope. I am two episodes in and Giancarlo is brilliant! Do you have any advice on obtaining representation as a writer?

Amanda Toney, Great questions. Regarding question #1 You've hit on one of my biggest challenges: Keeping my motivation going for my own writing projects, while maintaining the level of intense focus and concentration required for getting major projects across the finish line. There is often a wind down period at the end of projects, which usually dovetail into the long wind up period at the start of the next one. My team is in place for Season 2 of "Tokyo Vice," dailies are coming in, but we're a ways out from having various cuts going out to the Network, and finishing is even further out, so I'm currently enjoying having bandwidth available for working on my one-hour pilot of "The Ray2 Chronicles." As you know, I've had this project in the works for a long time, but I'm finally at the point where the script is calling to me constantly. Keeping that creative flow going so I can finally get this project out to the marketplace. I'll be checking in with you guys soon for some coverage! Regarding question #2, As I mentioned, we're currently shooting Season 2 of "Tokyo Vice" in Tokyo, which is 14 hours ahead of us. They're also shooting Sunday through Thursdays, so when we wake up here in Post on Monday morning, they're already 2 shoot days into their week! The reality of that situation is that weekends get a little mushy. When we do schedule production and VFX meetings, they're usually early in the morning, or late at night. Doing ADR with actors in Tokyo often involves sessions in the middle of the night. Communication is always challenging, so my team and I are always anticipating what's going on Tokyo time. One always finds ways to make it work, but then I'm always relieved when production finishes, and it's all about Post so we can at least just deal with East Coast/West Coast time zones. Unfortunately we won't get to that point until next Spring!

Emily J, Intriguing question. In the case of "Kaleidoscope," our writer/EP Eric Garcia began that intricate process back in the writing room a few years ago. No one has ever attempted anything like this before, so even once we were up and shooting, we were tweaking things with the goal of keeping the audience engaged regardless of where they started the journey. We continued those adjustments all the way through Post, down to the point where our genius composer Dominic Lewis helped connect all the dots for the viewers with musical themes for the characters that evolve through the entire timeline. In many ways, the show can be even more gratifying once you've been on the entire journey, then go back to those episodes with the new information about characters and relationships and story So far, people seem to be enjoying their various journeys, and that is most certainly the goal!

Sam Manetti, There are a variety of types of Producers, and many different ways to evolve into them For me, after a decade of being in front of the camera as an actor (with limited commercial success), I landed a job as Rob Tapert's assistant at Renaissance Pictures. Rob was a Director/EP for "Hercules" and "Xena" at that time, so I learned the entire process of developing episodes from the beat sheet, through script development, through production, and through Post. I found it fascinating, and more gratifying than auditioning day in and day out. After moving back to New York, I landed a job in the Production Office of "For Love of the Game" because Rob's partner Sam Raimi was directing. I was Production Secretary for that movie, but that led to me working as Assistant Production Office Coordinator for Sex and the City. From there I moved into Post as Post Coordinator, and began my climb up in the world of Post, ending at Post AP by the end of that show. I went on to Post Produce Queer Eye for the Straight Guy for 67 episodes, which gave me the mettle, and some strong starting credits to do pretty much anything. I've been lucky enough to thrive in the boom of the NY marketplace created by the NY State Tax Incentive. My journey has been a varied one, but my point is that being a Producer can mean so many things, but you're going to best at using the skills you enjoy, so the more you can follow that, the more you can shape yourself into the kind of Producer you want to be, and the Producer Networks and Studios feel make you a "must get,"

Hey congratulations on being awesome! I’m a TV editor working for a local station. How did you get your foot in the door with editing for streaming services? I’m thinking about getting representation as an editor and curious if that is something you would recommend. Thank you!

Incredible! Thank you for sharing your journey and advice with us, Brad!

David Velasco, It sounds like you very well prepared indeed! There really are no set rules about how many seasons you need to spell out at the start of your series. Personally, I think a first season of episodes synopses, plus themes for subsequent seasons should be ample. It's all going to change anyway once you open up a writer's room and the Network gets involved in the process. What the Studio and Network are looking for in the beginning of working with a new creative is whether or not that person has the vision to keep coming back with new, richer and deeper stories that will keep the viewers coming back for more. Even the most seasoned writer/producers often find that challenging. At the very least, all of that preparation will help you flesh out the characters and story to make that pilot the best it can be. Keep up the good work!

Hi Brad, Thanks for doing this. I'm really looking forward to watching Kaleidoscope. What are the main differences in post-production between scripted and unscripted projects? Is it easy to go back and forth between the two types? Do you personally have a preference?

Maurice Vaughn. I love your question! Usually it's a little bit of both. I usually come to set more in the initial days of shooting, get familiarized with the crew, the cast, the various department heads that will be there on any given day. If there are VFX shots working, or a music playback happening, I'd often be there with my team to make sure all is well and that we're getting what we need. Often various production team members would approach me with questions about various shots, etc. It was fun and really productive. After each day's shooting we get Camera Reports, Sound Reports, as well as extensive notes from the Script Supervisor, which will contain notes from the Directors about preferred takes, etc. The Assistant Editors dig into these notes the next morning when prepping the material for their respective directors, and the Editors usually pay close attention to the notes about preferred takes from the Director, or any other continuity issues that have been notes. Covid has changed things a great deal. My Post team has been working remotely most of the time for the past few years, with the exception of Color Reviews and Sound Mixes, when a small number of us need to be in the room to view or hear material in an optimal environment. ADR sessions with actors are usually done remotely, with the actor at the studio, and everyone else involved attending via zoom. The reason for these protocols is for everyone's safety in order to minimize possible exposure to Covid. For Tokyo Vice, this is a no-brainer, because production is happening in Tokyo. I could have opted to attend set more for Kaleidoscope, as we were shooting on location in lower Manhattan, and at the Netflix studios in Brooklyn, but I didn't want to risk any possible exposure to the actors and crew. If someone key on your set gets Covid, you can end up shutting down for days. I hope to return to those good old days of not having to worry about it. In the meantime, I'm grateful that my Post team and I have been able to work safely through this entire pandemic via zoom, PacPost Live and other virtual collaborative software.

Trish Person, Giancarlos is a dream to work with. So talented, and so game for anything. Having him anchor the show was a real treat. Regarding gaining representation as a writer, I don't have any easy answer for you, except that Stage 32 has some of the best opportunities I've seen to get feedback from industry professionals, and then hopefully gain representation once your material is strong enough. Keep honing your craft, and putting yourself out there!

Niki Hayes, Great question. My only unscripted post experience was the original Queer Eye for the Straight Guy, and it was a lot harder. The producers will prep everything to set up what they think the story will be, then when the cameras roll, you get what you get, and try to figure it out in Post. Competition shows have their formats, so some of that structure is built in, and some reality shows are more like documentaries, so the editors have to take the footage, then cut it together in a way that best fleshes out the story. The Editors are king in that arena, because they are the ultimate story tellers. The finishing process is much more limited, because you're often dealing with patching up less than optimal sound. Sometimes the picture finish can be rewarding, but most of the time you're working on correcting whatever conditions occurred on the day. I much prefer working in scripted, where you're editing with multiple takes of multiple (hopefully) creative camera setups, then finishing every detail to make it look and sound the best it can be. Most people I know who work in unscripted would love to move over, and sometimes they do, but it's a heavy lift, as the skill sets are so different. I'm grateful I have my one unscripted experience with Queer Eye, then was able to move back over to scripted with 30 Rock. Now I generally work in one-hour drama formats for streamers, and I'm grateful to be there!

Aurora Yarberry, Working at a TV station is a very different type of editing than scripted, but it's not impossible to make the transition. I've seen it work with the right people who can learn Assistant Editor skills enough to carry over, then hopefully eventually they can co-edit with an editor who's supportive, eventually accumulating enough credits to get hired as an editor outright. Keep in mind that even the AE world is quite competitive, so getting that transitional step will be no easy feat in and of itself. If you're prepared for a long journey, and can work hard to get the skills, then anything is possible. If you are New York-based, I'd say check out Post New York Alliance, as PNYA keeps a running data base of people looking for work that many of us turn to when pickings are slim for AEs and such.

Martin Reese, Thanks for your question. One of the challenging aspects of Post Production is planning so far out that you've created many Plan As, Bs, Cs, etcetera so that you have options open for your creatives when dealing with the inevitable mishaps and setbacks along the way. I usually have a lot of options secretly tucked up my sleeve! The other challenging aspect is that the Post Producer must manage across and up. Across, meaning the Director of Photography (DP) and Director, working in tandem with the Line Producer, who manages all of Production, then manage up from the Showrunners to the Network executives. Technically these people are my bosses, but they depend on me to keep everything on track. There's usually a lot of negotiating, cajoling, occasional pleadings, with an occasional mixture of "we must do this by Wednesday, or else we won't make it to air" kinds of reality checks. Ideally it never comes to that, and I will always try to create enough time and find resources to let the creative process play out, but you have to set parameters for everyone, because you're the only one seeing the big picture all the way to final delivery.

Hi Brad! Congratulations on the release of Kaleidoscope - can’t wait to watch it - and thank you for doing this AMA! I have a question about how things have evolved from the broadcast networks to the streamers in terms of final delivery. Is there more of an emphasis now with the global reach of streamers to deliver a show in multiple languages or with multiple subtitles for different countries than there used to be? Or has that always been a show’s responsibility and it’s just the distribution models that have evolved? Thanks so much!

Wow, Brad Carpenter! Thanks for the in-depth answer (and all of the answers)! I didn't know a producer was so hands-on once the movie or show started filming. I just added "Kaleidoscope" to my Netflix list.

Thanks Maurice! If you watch the Main Title credits on a show, or the Main on End (Netflix makes it hard to watch them because they want to get you on to the next episode. In the case of "Kaleidoscope you finally see them on the last episode, White) you'll see there are lots of producers, with varying roles in making the show happen. It's a huge endeavor, with a lot of moving parts. As Post Producer, I get to be the last one standing at the end, so it's very hands on. It's an incredibly gratifying job to have. And, because I love this job so much, it does make it challenging to save time and energy to pursue my own writing, but I'm surrounded by inspiration every day, so that's a great help!

Thank you Brad Carpenter for your kind response. What an honor to love what you do. The Persen household is taking one episode at a time to truly absorb each episode. Have a blast in post production.

You're welcome, Brad Carpenter. "And, because I love this job so much, it does make it challenging to save time and energy to pursue my own writing." I run into that problem as well when I accept writing jobs, rewriting jobs, etc. There's not much time to write my own projects, but I try to fit them in when I can.

Hi Brad- first of all,what an fantastic Career u got.Pattic from sweden here- why on earth is it so hard to pitch an idea or even a trailer? I dont know how it is in the USA but here it feels like,If u dont got the right contacts then dont bother,the production companies dont even says no thank you,they dont even look at the idea or in this case the trailer..What really sets me up is that i dont even get an no thank you, we are not interested,better luck next time, without a name People get totally ignorated.Do uou have any good tips to get youre film idea seen and how to find investors? Rgs Patric

Patric, I feel you. And I'm sure any of the artists on here can certainly relate. That frustration is totally understandable. The business is one Catch-22 after another. If you haven't had previous experience, then most people won't take the time to consider you. But how does one get their start? I don't have an easy answer for you, but just know that even the most successful creative had to get their start somewhere. In my answers above I talked about my varied path. I never could have predicted how I would come into this fantastic career! My advice is to take advantage of the many workshops and webinars here on Stage 32. Work on your script, work on your pitch, then, when you're ready, consult with the managers and agents here to see if your project resonates enough to get representation. You can work on query letters and such, and that can sometimes work, but if you don't have representation and you send unsolicited material, most likely people will not respond so as to avoid any possible liability. In the industry, the "silent no" is often the preferred answer, so don't take it personally.

Thanks Brad for youre quick response.,well yes it is just to keep on networking and hope you a great year with possabillities.Rgs Patric-trailer pitch by the way-https://youtu.be/Ryo83sa-5r0

Patric, I just watched the trailer. It's excellent. Well done! How far along are you on shooting the rest of the pilot? Have put together a bible and/or pitch deck to show possible first season episodes? I love the premise and this type of vigilante drama should do well. Question for Sam Sokolow, here are Stage 32 - Are there opportunities for Patric to have consult sessions with Agents/Managers who would view his trailer, as well as read his pilot? Feels like a Swedish "Equalizer." Could be a Netflix international production. Very exciting, Patric!

Thank you Brad, and i mean a lot of thank you .filmed about half,40 scenes,own financed but filming now and then when i can finance some scenes. Writing on the storylines for 6 x 45 min episodes,the red tape is though there all the way.synopsis and script for first pilot episode is done.

Brad, thanks for posting here. Could you point me to a link or pdf or site which has the Delivery Requirements list for Streaming/TV these days? I am working on a budget and want to make that I don't miss anything and have a complete delivery requirement budget. I'd appreciate your insight. Very much enjoyed "Tokyo Vice", "Fosse" and "Boardwalk".

Michael Mandaville, Are you preparing a budget for a specific streamer? Because they all have different delivery requirements.

Patric, Sounds like you are nearly there. Once you have your storylines together for those other 6 episodes, I highly recommend you put together a Bible and/or pitch document, then keep an eye out of the Manager/Agent meetings that Sam Sokolow sets up for Stage 32 members. There is a cost for this service, so make sure you're really ready to go before you schedule. There are pitch deck webinars here too.

Greetings Brad. Very kind of you to join us. I was curious on whether you think pitch decks are a writer's or producer's responsibility? And what are you seeing in pitches now (do they have budgets, pitch decks and the styles of them, schedules, etc.)? Thank you in advance. Hope everyone is having a good weekend.

Hi Brad! Thank you so much for doing this and sharing so much of your process. Really appreciate the advice you are offering to us in your responses! I look forward to watching "Kaleidoscope"!

L. Tom Deaver. Good question. If you're starting out as a writer, and want to show people you have the vision to carry your ideas long past the pilot, then a pitch deck is your responsibility, if nothing else, as a sales tool for your work. Budgets are helpful, but probably not mandatory at the start, unless you're trying to produce a pilot independently. I'm not taking pitches right now, as I'm working on developing my own projects, but when I go out with them, I'll have a pitch deck to show them what the rest of Season 1 could potentially look like, and then to take them forward to subsequent seasons.

Thank you, GiGi! Enjoy Kaleidoscope. It's a fun romp to be sure!

Thank you, Brad. I work largely in features but your advice applies to them as well, I think. I was hoping to avoid the work as they can be expensive to create if you use concept art. I will begin work on one for my latest feature. What you said made me realize I need to do the Producer's work.

@Brad I just saw thread & question I’d have asked is already answered. I didn’t realise a post production specialist works “Across & Up” involving so many crew members for TV/Stream. It must be so satisfying not only being “last one standing” but also knowing you moved all the pieces for the final tangible production. Also an A,B & C plan is something I adhere to even in low budget indie. Tokyo Vice is one of the few series I watch on catch up and was immediately drawn in by the intriguing characters & the world the story is set in.

L. Tom Deaver, Yes, you have to do the Producer's work until you get other producers on board. For feature, it'll probably be helpful to focus on potential casting as well as images that can evoke the mood and feel for your story. Again, there are webinars available on Stage 32 right now that could be helpful. Learn from the experts!

Thank you Debbie Croysdale! Glad you're enjoying Tokyo Vice!

Michael Mandeville, Don't forget to message me on here. While streamer delivery requirements are not nearly as unified as one would hope, I can give you a few examples from Netflix and HBOMAX, which should give you a decent idea. Essentially we're talking about IMF files, supplemental files and M&E for international, including a range of Audio files as well.

Brad, I was asking because that guides my thinking on asking for some sort of Producer's credit when i try to sell it. I've done a few pitch decks but could always learn more and might take the courses here. At the moment, I am mostly interested in paying for the class Anne offers on Writing a Historical Fiction Pilot. I have written several historical fiction features but never a pilot and could learn a lot along with finishing up a script on the 4th Crusade I've been meaning to complete for awhile. But anyway, thank you very much for your time and the suggestions. I will include more of the classes here in my plans. Hoping you had a good weekend.

L. Tom Deaver, Sounds good!

Hi Brad! I was wondering do you have some advice how you can attract attention of producers to read your work?

By the way sorry for late question.

Jelica, That's okay. I'm obviously still checking from time to time! What work are we talking about? Are you a writer? An actor? Features? Television?

I don't know if I can call myself a writer, because no one has seen my work yet. But I have written one pilot and from time to time I work on concepts for future episodes. But I'd like to get some opinions before I continue writing, just to make sure I'm on the right track.

You write, so you're a writer, Jelica. :)

Jelica, I agree with Maurice. If you write, then call yourself a writer. And it's always a good idea to get other eyes on your material. Stage 32 offers industry pro coverage, as does Coverage Ink, and many other coverage services. While it does cost money to get pro coverage I find the practice invaluable for keeping my projects moving forward. I long ago gave up giving my drafts to family and friends, because they may offer some validation, but what you really need are comments that make you excited about the next pass. It's also good practice for any future that involves writing professionally. Writing for TV and film is a collaborative art form in every way. If all goes well, you'd would be working with other writers, producers, studio and network execs. They will all have plenty of notes to offer, and then it will be your job to sort out how those notes can improve your material.

A writer is an aspiring author who anticipates publication. Every author started out as a

writer so you are on the right track. Congratulations!