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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.

They say necessity is the mother of invention. 2020 is a case in point. Social distancing and widespread lockdowns during the coronavirus pandemic have fast-tracked a global digital transformation. Billions of people have found new ways to work remotely and connect with each other. In the audiovisual industry, productions have found new ways to continue, facilitated by live streaming, virtual production tools and video conferencing technology, not to mention super-fast connectivity thanks to 4G, 5G and fibre optics. Post-production, in some cases, has actually thrived.

Epitome Risk has been on the front lines of Pandemic Production Safety since the beginning. With over one hundred combined productions, our experts have helped film & television companies minimize risk, avoid shutdowns, and eliminate outbreaks for over two years.

With COVID-19 corporate shut downs and a massive shift to remote or furloughed workforce, the post-production industry and their teams have been one of the hardest hit. Teams are scrambling for solutions with a limited remote workforce that allows post-production projects to continue while maintaining social distance.

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.

Brad Engleking of TBD Post has been a sound professional in the film industry since 2000 when he graduated from Texas State University with a degree in music/sound recording technology. During this time he has worked on a wide range of film projects from Robert Rodriguez's Sin City to James Cameron’s Alita Battle Angel to Terrence Malick's A Hidden Life.

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.

Late in 2020 LWKS Software was formed, led by former EditShare executives. LWKS acquired the Lightworks NLE and QScan ACQ systems from EditShare. The NLE has been used to edit major TV shows and films, including “LA Confidential,” “Pulp Fiction” and “The King’s Speech.”

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.