Deborah Osborne is a production manager, associate producer and post-production supervisor whose credits include The Republic of Love, Soul Food, Attack of the Clones (Imax version) and Nero Wolfe: The Golden Spiders. She has taught seminars on post-production for the Directors Guild of Canada, the Academy of Canadian Cinema and Television, the Guild of Canadian Film Composers, Film Training Manitoba and Humber College.

‘WE’LL fix it in post’ is a phrase used at least once on almost every production, either said as a joke or used when trying to get through a sticky shot or just to make the day. But to the film and video post facilities and those talented individuals who finish the projects, ‘fixing it in post,’ when time and resources are squeezed, is no joke.

There have been many changes in post-production, but one thing remains constant: most productions can benefit from greater knowledge and better planning of post-production by producers, production managers and post supervisors. For most of us in the business, even seasoned veterans, post has become more of a mysterious, confusing struggle than ever, especially in how it affects schedules and budgets as the result of the demands of delivery.

The complex list of factors currently at play includes FX, 24P HD, 16:9, 35mm shoot/video finish, up-conversion, down-conversion, Dolby 5.1 surround, digital intermediates, anamorphic dailies, protecting for widescreen, and DVD distribution.

In the current global industry, markets are expanding and distributors expect every format under the sun. Deals are becoming more convoluted and involve more players, while budgets and schedules are shrinking. As any producer on an international copro or FX-heavy project will attest, the post aspects of film and TV deals can play a large role in preproduction, the shoot, scheduling and payments.

Today, especially for cash-strapped Canadian projects, a successful production is not just measured by its creative achievements – it is measured by ‘delivery.’ For producers, a successful delivery has become the most crucial step in the post process, beyond making the broadcast date. Each day over a delivery date can translate into many dollars lost. Delivery means all contractual elements are sent to the correct person at the correct place at the correct time, and they have been technically accepted.

The good news is that successful post-production benefits producers by fulfilling contracts and obligations with broadcasters, networks, distributors, guarantors and funding agencies. It can also help ensure diversified product marketability and an extended shelf life. Technology today enables the film and video media to crossover at any stage in post, leading to more distribution opportunities for the end product.

The bad news is that a lack of well-informed post planning can lead to ugly surprises, unexpected expenses, creative compromises and late or incomplete delivery. What to do?

There are a few key guidelines that may help producers and production managers survive the post-production aspects of their next projects.

First, adopt the mantra ‘post-production is preproduction.’ During prep, as you analyze and break down your script for production issues, also break it down for post-production issues.

Perform critical reading of your delivery agreements to clarify and understand your delivery requirements and obligations to all parties. Create a checklist of all hard and soft ‘deliverables’ (all versions of film prints, videotape masters, the paperwork, etc.), relative to your budget and schedule. Use this list to clarify your needs with the post facilities, including any technical specifications.

Plan for your post-production

Working backwards from what your deliverables are will help in determining which post path you can use. Know, plan and understand your particular post-production path: Are you familiar with all of these processes; are they going to affect any creative aspects; are there any short cuts; is the newest technology really the best for this project?

Get involved with your post facilities and crew. Share the information from your agreements and your checklists. They will help! Ask the facilities to break out and detail the processes on your project so you know where your money will be spent and the time it will take to complete it. This will result in a more accurate ‘estimate to complete.’ (Your guarantor may require this detail.)

Make each post budget unique. Past budgets should be used as a guide only. Avoid ‘lump summing’ in your budgets. Include detailed pricing info for each task, based on the quotes from the post facilities. Put these tasks down in the order they will be performed in the post process. The payoff will be a more exact accounting of where the post dollars are going.

And, speaking of post schedules, don’t wait until you are in post-production to create your post-production schedule. Of course the schedule will change, but it is often not cost overages that trouble a production, but being behind schedule, making compromises and paying extra to meet deadlines. Have your target dates well planned ahead of time and, if you can, schedule in a bit of ‘fudge’ factor so you have some flexibility to accommodate those inevitable bumps that occur during post-production.

Sound editing, music composition and sound mixing risk being shortchanged in terms of schedule and budget due to placement near the end of the post flow – and it often shows. You and your crew have worked very hard to get the project to this point. Respect that this stage is just as crucial as the story, the talent and the look. After all, you are not making a silent movie.

Manage the risks. Post-production benefits from a ‘project management’ approach. It will not just ‘happen’ because you have booked the post-production facilities and crew.

Replace your post-production anxiety with knowledge and the confidence to make a real contribution to your next project. Finish it as you intended – with your creative vision as well as your budget and sanity more or less intact. This way, the next time you say ‘We’ll fix it in post’ you will know exactly what that means.