POST PRODUCTION SUPERVISORS
POST
budget and workflow planning. “A PPS is usually hired either by the producer, or the head of post if the production company is big enough to have one,” she adds. “The most important role of a PPS is to support the producer during post production by attending post sessions and keeping the budget and schedule on track. Problem solving is also imperative when invariably the schedule doesn’t stay on track!” Stannard works most closely with the
Producer, but also with Assistant Editors. “They are crucial to supporting the edit team and they’re a big link between production and post production,” she explains. “I also work closely with my Coordinator, and the Post Managers at the post facilities.” There’s a difference between a post
production supervisor and post production producer, says Winter. “[The latter] are generally more popular in
the US, but are [becoming more common] here, as more high-end American shows are being made in the UK. “It’s become recognised that the complexity
KILLING EVE Sid Gentle Films, Endeavor Content
Kate Stannard has worked on Killing Eve for Sid Gentle Films from the start and is now working on the final series. “I probably spend about 8-9 months on each series, plus set up time,” she says. Part of the role of post supervisor is to help define the choice of post suppliers and support staff. “On Killing Eve our Executive Producers, Producer, Directors and Director of Photography had a clear vision for the tone of the drama and therefore knew the post talent they wanted to work with. I’ve worked with these creatives before so I was very happy with their choice. “The workflow takes us from the shoot through to final delivery, so there
are lots of people involved at various stages who contribute to defining it, from our Line Producer and Production Co-ordinator, our DIT, our 1st Assistant Editor, our post facility Production Managers and their teams, and me. I’m across all of it, but rely on their expertise every step of the way.” In this series, the major new challenge was the pandemic. “Killing Eve is a drama which shoots abroad in many stunning and interesting locations, but this has been severely restricted due to COVID,” says Stannard. “The challenge is to try to make the most of every opportunity we have to shoot abroad and to embellish those opportunities in post to create the same Killing Eve world de-spite the COVID limitations.”
of the post on these HETV shows can require a whole team of post-producer, post supervisor and post co-ordinator,” she adds. “The role of a post-producer does vary, but in essence, they either replace or strongly support the series producer, who may, or may not continue through post. If there is no producer [present] then the post producer can take on the role of giving notes during the edit and on music, choosing the composer and title sequence - basically taking on a more creative role. Even if there is a producer, if their strength is not in post then the post producer may supervise the grades and mixes and generally have more the authority of a producer rather than a supervisor.”
Times are a-changing “The industry has changed so much,” says Gisela
Evert ( past TV includes Brexit: The Uncivil War, Strangers, Jonathan Strange & Mr Norrell). “We’ve got the big streaming entities, and even the large US channels coming over to the UK, not just shooting but also posting a lot here, which is sucking up a lot of the staff. Before when we only had the five channels it was easier to manage it between us all, but now it is getting very crowded. Budgets have also increased enormously.” According to Evert, the general process is
much the same, whoever you work for. “You have the shoot, you help with setting up the
Autumn 2021
televisual.com 65
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80 |
Page 81 |
Page 82 |
Page 83 |
Page 84 |
Page 85 |
Page 86 |
Page 87 |
Page 88 |
Page 89 |
Page 90 |
Page 91 |
Page 92 |
Page 93 |
Page 94 |
Page 95 |
Page 96 |
Page 97 |
Page 98 |
Page 99 |
Page 100 |
Page 101 |
Page 102 |
Page 103 |
Page 104 |
Page 105 |
Page 106 |
Page 107 |
Page 108 |
Page 109 |
Page 110 |
Page 111 |
Page 112 |
Page 113 |
Page 114 |
Page 115 |
Page 116 |
Page 117 |
Page 118 |
Page 119 |
Page 120 |
Page 121 |
Page 122 |
Page 123 |
Page 124 |
Page 125 |
Page 126 |
Page 127 |
Page 128 |
Page 129 |
Page 130 |
Page 131 |
Page 132 |
Page 133 |
Page 134 |
Page 135 |
Page 136 |
Page 137 |
Page 138 |
Page 139 |
Page 140
