Post-Production : Ask Me Anything (AMA) 8/2-8/3 - Becoming a Post Production Professional by Brad Carpenter

Hi Brad Carpenter - thanks so much for doing this AMA! Would love to hear about your journey to becoming a Post Production Producer and how involved is a PPP in the pre-production process. Thanks!

Thanks for having another AMA, Brad Carpenter! What's the first step in becoming a post-production professional?

In my case, my intro to Post happened when I was an Assistant Production Office Coordinator for Sex And The City, Season 2. One of our EPs saw me helping out the Post team, so he moved me over to Post Coordinator for Season 3. I built my career in Post from there once I realized how much I loved the Post process. I've always been eternally grateful for that move into Post. Since then I've started a number of new people into Post as Post PAs. Post PA is an excellent entry position, because if you show yourself as capable, people will give you more to do, until you can make the jump to Post Coordinator. Same thing as you try to reach up to Post Supervisor. Post Supervisor is the toughest job because you're right in the trenches, but you learn what it takes to become a Post Producer and run the whole thing.

Leonardo Ramirez, the Post team's involvement of in the Pre-Production process is crucial. It's the job of Post to make sure we have all the elements we need for the final product, which means we have to be involved in all the planning from the start. From the first Concept Meeting, where we break down the script according to involvements of all the departments, through the follow up meetings for specific VFX, Music Playback, or location cleanup needs, through to the Production Meeting, where everything discussed previously is summarized, giving everyone a chance to ask remaining questions. The process happens extremely fast in episodic narrative television, as all prep for the next episode block happens while the current block is shooting. It's always a mad dash to schedule all of those necessary meetings before shooting of the next block begins.

Brad Carpenter - thanks for the AMA. I'm curious if you've integrated any AI tools into your pipeline, and if so, which ones?

Brad Carpenter, thank you for sharing your time with us today! Do you have a favorite stage of the post-production process? If so, why is it your favorite?

Thanks for the in-depth answer, Brad Carpenter! What do you do if there's an issue during the post-production process? Like the film gets damaged.

Thanks for today's AMA, Brad Carpenter! At this point in time, do you recommend up-and-coming editors focus on learning Avid or Premiere or do you think they need both skill sets to be most employable?

Thanks for doing this AMA today Brad Carpenter! You get to see some of the most intimate moments of a Showrunner or Director's creative process - do you find that they have self doubt along the way when their vision is showed on screen? Do they ever second guess themselves? (you don't have to name names, obviously!) But, I would imagine you play part therapist or cheerleader in the post-production role as well. I that the case?

Will Maurer, We have not yet integrated AI tools into our process. Too controversial at this point, and we definitely want to respect the performances we get from our actors. There may come a time, but only once proper and respectful parameters have been agreed upon.

Ashley Renee Smith, My favorite stage of the process is the final mix, when all those changes come together into the final product. What we do with cleaning up dialogue, and SFX, composer score and licensed music ideally creates a seamless subliminal experience for the viewer. It's so gratifying to see it all come together, and if we do our jobs right, the viewer won't know that we were there at all! They should never have to stop to think, "wow that clean up VFX really looked real, "or "I love the way color correct opened up the actor's face so I can see the light of their eyes," or "wow, that composer score really supported what I was feeling." They should just be on the journey, enjoying the ride.

Maurice Vaughn, Most of our shooting is digitally these days, but say you are shooting film, and there's a light leak in the camera mag, or something happened during processing, then after the issue has been detected, we would notify Production right away so they hold off on striking sets until it's been determined that we can either cut around the problematic footage, or a reshoot has to be scheduled. (That's what production insurance is for). Generally, after each set up, camera department "checks the gate," which used to be about checking for hairs or dust caught in the camera gate. If an issue is detected, they would clean it out the gate, then roll some more before moving on. With digital filmmaking they still say, "Check the gate," but that now refers rolling through the last take to make sure the file isn't corrupt Ideally, if there's something wrong with the file, they roll some more before moving on to the next setup.

Sam Sokolow, Up-and-coming editors should definitely make sure they have solid skills on Avid Media Composer. That's the industry standard for what I do. I personally sometimes edit on Premiere, but I did a project last year ("Waitress, the Broadway Live Capture) that was edited in Premiere by a UK company, and it was very problematic when we brought the project back to NY. Premiere does not interface well with other kinds of software necessary for the finishing process, like ProTools for sound, or Resolve or Flame for the DI (Digital Intermediate). Always good to know Premier just in case, but only if you're first fluent in Media Composer on Avid.

Thanks so much Brad Carpenter - great rundown! How does the pace differ from TV to feature? Also, how much input do you have in choosing the musical theme of a scene or does that bleed into the director's chair?

Amanda Toney, Oh the stories I could tell! Yes, I often play a combination of therapist, diplomat and cheerleader. Sometimes I have to resort to becoming a drill sergeant or fight coach. "Get back up and get in there! Go! Go! Go!" Whatever it takes to motivate them, to make them feel looked after and supported, to create the time, working environment, and resources for them to achieve their creative goals, while keeping to the parameters of the overall needs of the project. It can be a tricky balance to maintain, because I'm also beholden to the Studios and Networks, but I'll do everything I can them through the process.

Leonardo Ramirez. In a feature, you're working on one large creative piece, with your creative team focused on the same phase together at any giving time. In a series, you're always shooting while prepping the next block and posting the previous. Think of it as having 10 one-hour films all being worked on at the same time, each in a different phase of development. It can be dizzying for your Showrunner EPs. Later when all of these episodes are going through their editorial and finishing processes it becomes essential to help guide them to what they need to focus on next. I recently had a blurry-eyed EP tell me, "I am your puppet. Tell me what I need to do next." Needless to say, I find that attitude very helpful! Seriously, though, it's important that they trust me to know what the next important decisions are, whether it's working on notes for a cut, or spotting sound or music on another episode. Prioritizing decision making during the Rubix cube of the journey is everything. In terms of music for a scene, that's a collaboration between the Editor, the EP/Showrunners, the Composer, and I'm there to give my thoughts, or at the very least, to make sure the creative process is going as it should. The Network gets a say, too, of course, but that's often a whole other negotiation along the way!

LOL that's awesome Brad Carpenter . I can totally see going "puppet" as a way of preserving the psyche from overload. But even in the chaos, it's got to still be a complete joy to be in the midst of something you love.

"Checks the gate" sounds like it really comes in handy, Brad Carpenter. Thanks for all the great answers! I feel like I took a post-production course. :D

Hi Brad Carpenter! Thanks so much for doing this AMA! I would love to know what your favorite project is that you've worked on and why :)

Leonardo Ramirez, It absolutely is a joy to be in the middle of doing something you love, as hair razing as it is, sometimes!

Brad Carpenter Absolutely agree. All the best to you, Brad!

Emily J, I've had so many projects that I've enjoyed, cast and crews that I've treasured: "Sex And The City" during the massive culture zeitgeist of the time was a surreal ride unto itself. We are all bound together with that experience forever. Working with Terry Winter on "Boardwalk Empire" and "Vinyl" were incredible experiences. Working with Jonathan Ames, Ted Danson, Jason Schwartzman and Zack Gallifianakis on "Bored To Death" was a zany wonderful fever dream of a show that didn't last as long as it should have. Working on "Fosse/Verdon" was such an honor, because I was working with theatre royalty at the top of their game, and because we got to go to the Emmys together! But all in all, I would say that "Nurse Jackie" has been my favorite project so far because I was on that show from the pilot through to the finale, (7 Seasons, 80 episodes) on the ride with that entire cast and crew for the entire journey. Walking onto the set to check in with everyone, seeing how the day is going, approaching video village and hearing, "Oh Brad will fix it." I'm like, "Excuse me, Brad will fix what?" They tell me what's up, and I say, "Oh, okay. I got you." Those people truly became family, and I will treasure that experience for the rest of my life.

I don't have a particular question...just come here to say I LOVE The Diplomat and can't wait for season 2. It hits' all the right notes.. exciting, funny, and fabulous music (I'm a composer, so that's a definite plus for me!) Thank you for creating it.

Thank you, Arhynn. I love the show too, although I can't take credit for Season 1. They brought my producing partner and I to work with Season 2.

Brad Carpenter Gotcha! Well, I look forward to seeing what you do with it!

Thanks for all your valuable insight and information, Brad Carpenter!