Details

Autor(en) / Beteiligte

• Spohr, Susan J.
• Clark, Barbara
• Higginbotham, Dawn
• Bakhru, Kumari

Titel

Scheduling

Ist Teil von

• The Guide to Managing Postproduction for Film, TV and Digital Distribution, 2019, Vol.1, p.15-29

Auflage

3

Ort / Verlag

United Kingdom: Routledge

Erscheinungsjahr

2019

Link zum Volltext

Quelle

Alma/SFX Local Collection

Beschreibungen/Notizen

• Scheduling is a timetable, and the success of a show relies heavily on time management. Always keep the distributor’s delivery date foremost in your mind. It is usually tied to theatrical marketing and the release deadline or streaming/TV air date, and therefore unchangeable. A postproduction supervisor uses details provided by production and delivery requirements to create a postproduction timeline, request bids and build the postproduction schedule. The postproduction supervisor may be responsible for the supervision of the dailies materials’ (data capture, SSD media and sound cards) delivery to the post facility for transcoding and delivery to the editor, and if transcoding is done on set, from the set to the editor. Using the dates of principal photography and the delivery, you can begin to make a post schedule. If the editor and director are union, be aware of the union requirements that specify how long (how many days) they are allowed to edit without supervision from the producer or his/her representatives. The producer will submit a cut to the distributor. After picture lock, many steps can be created at the same time: Music and effects, conform, titling and dubbing. The digital materials will need the final audio, titles and subtitles prior to duplication. Production and postproduction scheduling are an art form. Primarily, producers are expected to commit to paper a plan encompassing every single step of postproduction, from dailies to delivery. Each phase is dependent on the successful completion of the previous phase. Once producers have mapped out their postproduction schedule and committed it to paper, it is distributed to the show’s executive producers and producers, the studio, network executives and countless others. And, at any given moment, anything can happen to change their schedule. In film and TV, scheduling is a timetable, and the success of a show relies heavily on time management. This includes managing, organizing, planning production processes, allocating assets and optimizing resources. With the shift from film to digital, the workflow for longform cable and streaming productions has become more like theatricals. These programs have longer schedules and bigger budgets.