The Devil Is In The Details

Sometimes it seems like wrapping up a project is more complicated then getting into production. Especially when working with a small prodco that hires staff on an 'as needed' basis. When the producers, APs, and researchers go away, it is that much more difficult to cull together all the paperwork that was amassed over the course of production and post production.

If you're lucky, you've had diligent people who have taken copious notes and kept everything in order - preferably in one place. Many times this is the case, but quite often it's not. Pulling together archive and music cue sheets, appearance and location releases, and network forms can be maddening without proper back-up.

Some producers will lay music in their rough-cut that hasn't been cleared. Some will put in footage when they haven't even discussed cost with the PM. This usually makes for a series of clenched-teeth phone calls between producer/AP, PM, and EP. Not fun.

Then there are the endless network deliverables. PBS has a great policy that states if you shoot & deliver a program in HD, you must also deliver a widescreen SD version on DigiBeta. Same with promos. They now have a digital forms submission program which ends up making you do the work twice - once on your spreadsheet, then again to input into their system.

Discovery Channel has different requirements that are no less stringent. Nat Geo has its own, and so on and so on. Keeping up with each network's requirements can be a full-time job in and of itself.

Creating quality films is very rewarding, but beware - the road to delivery (deliverance?) is filled with land mines that can blow holes in your budget if you don't plan ahead.