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Ultimately, as filmmakers we would all rather spend our time & energy doing something creative rather than tearing our hair out putting in long hours to “fix” the problems incurred during production. That being said, this is a list of tips we’ve compiled over the years to help streamline both your production and post-production.

One of the biggest challenges facing post houses today is the unrelenting pressure to create more and better content with fewer resources, and to get it completed faster. This is happening at a time when the fundamental technical underpinning of the industry is changing rapidly, adding a significant layer of complication.

As technology continues to progress at a rapid pace, post-production is set to change dramatically. Besides great new software features, compute (and therefore render) power continues to increase with faster processors and more powerful xPUs (GPUs, TPUs, etc.). This means real-time editing of HD, 4K, 8K, AR and VR is fast becoming a reality, ultimately shortening post-production timeframes.

Larson Studios and Post Haste Digital have recently joined forces to extend audio and video post services in West L.A. Here, they share two perspectives on selecting a post-production audio/video company: the questions that you as a client should ask a company before final selection, and as a company, how you should be responding to those questions.

Get insight from our exclusive interview with sound designer, Ed Kaufman on life as a post production pro, tips on how to best make dialogue, music, and audio pieces all fit together and more!

Even though Breaking Bad has come to an end, it seems everyone is still trying to hold on. (We're one of those people.) So we decided to get an interview with the man who made sure our beloved characters always showed up crystal clear week after week, colorist, Tom Sartori.Q: As a colorist for Breaking Bad, what was a major post-production challenge you had to deal with? A: A constant challenge was to maintain stamina throughout the eight-hour session budgeted for final color. Some 500 or more shots had to be perfected within this timeframe, so the procedure, in very rapid succession, was always: identify the game plan, execute, verify color match, and then move on to the next shot.

Visual Data Media Services provides post-production services, film scanning and transcoding for a wide range of international customers, preparing content for distribution across the world’s premier broadcast channels and digital platforms. For more than two decades, the company has successfully provided everything from ingest and scanning to editing, captioning and localization, growing to become a premier resource for the entire mastering and delivery process. But last year, with a tremendous increase in 4K and ultra high definition (UHD) projects, Visual Data’s systems were struggling to keep up.

Lantern Creek Productions has wrapped up our final season producing “MO Guard TV”. Over the past two years, we produced 24 episodes that covered the events, training, missions, and lives of Missouri National Guardsmen and their families.

by Tom CoughlinATTO has long provided important infrastructure technologies for storage supporting companies making digital storage supporting video workflows. At the 2014 IBC the companies equipment was being used in over 50 workflow demonstrations at many partner company exhibits.

Production designer, Laurel Bergman, has contributed her creative fingerprint across many notable projects including The Revenant, Rampage, Godzilla, Fifty Shades of Grey and A Series of Unfortunate Events. Her latest work is based on the comic series by Brian Ralph, Daybreak. The series follows the story of a high school outcast, Josh, searching for his missing girlfriend in post-apocalyptic Glendale, California. He must stay alive amongst the horde of Mad Max-style gangs including, evil jocks, cheerleaders turned Amazon warriors, zombie-like creatures called Ghoulies, and everything else this new world throws at him.