POST
POST PRODUCTION SUPERVISORS
crew, while the DoP tends to have a preference when it comes to the colourist, and which facility they are in. That sometimes will steer you in a direction. Then it comes down to can we hit it [in terms of cost] and do they have space to fit us in?” Then there’s timing. “UK terrestrial TV
series have broadcast dates that you have to hit,” she says. “Certain US channels might want to hit a premiere date that fits in their annual broadcast planning. For streamers, it’s a little bit more flexible. But it’s a constant juggling act, particularly now with COVID.” “On very VFX-heavy shows there will be a
VFX producer and supervisor in addition to the post team,” says Winter. “The roles are similar,
The deliverables have become significantly more complex
however. In VFX terms the supervisor is more the creative lead, while the VFX producer role is more similar to the [post super/post producer] role, managing budget and schedule for the VFX shots. The budget for the VFX is run by the VFX producer, whereas on a less VFX heavy show that is also covered by the [post supervisor].” “The VFX supervisor is more creative and
comes up with the technical solutions on set, whilst I will be mainly working with the VFX producer because they are breaking down the cost of the shots,” agrees Evert. “They are scheduling that work, they allocate the vendors and then sort out the timescale for the shots to come back, which will affect me in post. It all rolls downhill.” It’s useful then to cultivate a close
relationship with the production team and all the creatives on-set. “We can adapt and work with them to
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come up with solutions to make sure that we hit our deadlines in post, because they’re all interconnected,” Evert says. “The way that the Americans and the streamers are working is very good; it becomes a team effort to make it all happen together.”
Streaming forward “The streaming companies have done a lot for our
job, giving us the recognition that our role should have,” says Stannard. “They are also making huge amounts of TV which is great for the industry and the opportunities that brings. On the other hand, smaller independent British companies, who are known to make some outstanding drama, may struggle to compete with the streaming giants, but hopefully it helps elevate the standard of British drama for everyone.” So what do people need to have to get
started in the role? “To start with I don’t think you need any specific experience, I did ceramics at art college, not a whole lot of help in post!” Stannard says. “A good starting place is working in a post facility where you can learn about post and where you’re likely to meet post supervisors.
Now that roles like post assistants and post coordinators are more [common], it’s easier to start working with a post supervisor to gain more specific experience and work your way up. You need to be keen, hardworking, well organised, and happy to hold your hands up and ask for help when you don’t know something.” Frood says her jobs need her to be highly
organised, efficient, and able to constantly think ahead and prepare for different scenarios. “[You need to] be across multiple strands of post on multiple episodes and be able to manage a team,” she adds. “[in this job] you need to be able to
communicate honestly and clearly with everybody,” says Evert. “You also need to manage expectations and you need to be able to say no – you might not have the money, and you might not have the time to do it. “I think that [this role] is much better for our
industry,” she continues. “It helps the director and the creatives because [the post] is properly budgeted and scheduled for that project. It’s much better for the producers - they have fewer surprises hitting them when they hand over to post.”
Giri/Haji
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