Post-production

Post-production, or postproduction, is part of the process of filmmaking, video production and photography. It occurs in the making of motion pictures, television programs, radio programs, advertising, audio recordings, photography, and digital art. It is a term for all stages of production occurring after shooting or recording individual program segments.

Traditional (analogue) post-production has been eroded away by video editing software that operates on a non-linear editing system (NLE).

Processes

Post-production is many different processes grouped under one name. These typically include:

Unit production manager

A unit production manager (UPM) is the Directors Guild of America–approved title for the top below-the-line staff position responsible for the administration of a feature film or TV production. Alternate titles for this role on non-DGA signatory productions are production manager or production supervisor. He or she works closely with the project's line producer. It is not uncommon for the line producer to function as UPM as well.

A senior producer may assign a UPM to work concurrently on more than one production, for film, theatre, or television.

Responsibility to a senior producer

A UPM is usually hired by a film producer or television producer, and is responsible for managing the production and regulating the costs of delivering the expected film or television show on budget at the end of principal photography. Based on a shooting script, the UPM will create a working budget during pre-production, prior to the start of principal photography, thereby charting a recommended budgetary course. Typically, a Producer will oversee all the cost-related decisions, including above-the-line expenditures (especially during pre-production). However, the UPM is responsible for the more detailed planning and execution of the below-the-line costs (primarily for physical production). The film's director will select important department heads (keys) or support personnel related to his work, including the casting director, cinematographer, costume designer, production designer, and film editor. For below-the-line matters, the UPM often negotiates deals (for location, equipment, etc.) and hires the remaining crew, typically on the recommendation of the keys and/or based on prior experience with trusted individuals.

Production coordinator

A production coordinator (officially called production office coordinator and abbreviated POC) is a unionized position in stagecraft under the International Alliance of Theatrical Stage Employees (IATSE) and is governed in Los Angeles by Local 871.

The production coordinator serves under the production manager, producer or UPM to coordinate the various groups and personnel that come together in filmmaking to a movie and video production to make a television show. It is a supervisory position to the Production assistant staff. The position requires adept organizational skills, resourcefulness and the ability to handle a multitude of tasks simultaneously under often high-pressure situations. The POC serves as the gatekeeper of company policy and is usually responsible for ensuring the rest of the production television crew follows the requirements of the Production Company or Studio.

The duties of a POC are often undefined and extremely varied ranging from office manager, to human resources, to controller, to accountant. The POC is one of the only positions with the IATSE (USA and Canada) which no longer has a scale or set wage. The IA bylaws simply state the POC’s wage is “subject to negotiation with the Producer”. Fringe benefits include inclusion with the (USA)industry’s Motion Picture Industry Pension & Health Plans. Currently the production company is required to contribute 60 pensions hours per week, which equates to about 35-percent of the weekly gross wage. Most all POCs are hired an "on-call" weekly status and are basically paid a flat rate per week, no matter how many or few hours they work. Working conditions can vary on the medium (half-hour, hour-long television, reality, live, soap and feature) and daily hours can range from 8 to 16 hour days. The POC is often the first person in the office and the last to leave since they hold the responsibility of tending to the needs of the crew.

Production

Production may be: Film In Economics:

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See also

Tim Walker

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Timothy "Tim" Walker (born 1970) is a British fashion photographer, who regularly shoots for Vogue, W Magazine and LOVE Magazine.

Life and career

After graduating in 1994, Walker worked as a freelance photography assistant in London before moving to New York City as a full time assistant to Richard Avedon. On returning to England, he initially concentrated on portrait and documentary work for UK newspapers. At the age of 25, he shot his first fashion story for Vogue.

Walker staged his first major exhibition at the Design Museum, London in 2008. This coincided with the release of his book 'PICTURES' published by teNeues.

In 2010 Walker's first short film, The Lost Explorer (BBC Films, 2010) was premiered at Locarno Film Festival in Switzerland.

Walker's Story Teller was exhibited at Somerset House in 2012 and published as a book by Thames and Hudson, designed by Ruth Ansel.

In 2013 The Bowes Museum in Durham exhibited Walker's photographs, curated by Greville Worthington, of work beyond the pages of Vogue and Vanity Fair.