UK-based Karen Payne is a post producer represented by The VFX & Post Talent Agency. In her job as post producer, she is responsible for all aspects of post production — from dailies to final delivery of the show to network or studio. “We create the schedule, budgets, workflows, source crew, liaise with vendors, VFX, sound, ADR, music, color, and everything else pertaining to post,” she explains. “We are the showrunner’s voice in post when they’re unavailable, and we are the constant that tracks and fulfills the creative brief.”
Let‘s find out more…
What would surprise people the most about what falls under your title?
I think the crossover between production/filming and post would surprise people. We are, in essence, the line producers/producers of post and need an awareness and understanding of shoot issues and key decisions that affect post. It could be a makeup or wig issue that results in 200 cleanup shots or a problem with a microphone, which affects ADR. If we are at the shoot, we can solve problems and manage damage control. As post schedules get faster and shows get more complex and ambitious, it’s vital that the editors and VFX are part of the creative decision-making from the very start.
The Great
What’s your favorite part of the job?
I love putting great teams together. There is something very special about crewing a show and knowing you are bringing wonderful talent together, and that everyone involved will give the project their all.
What your least favorite?
I think how the role of post producer is sometimes overlooked. The role is so multi-faceted and has evolved hugely over the past 5 years with the influx of high-end American TV series. We are no longer just facilitating the logistics of post for BBC and ITV dramas; we are overseeing and managing vast teams, multiple creatives, often thousands of VFX shots, hundreds of hours of ADR, complex sound and music scores and endless deliverables — all while making sure there is creative continuity, running the budget and keeping the show on schedule.
I often feel however that the perception of the role is still what it was 10 years ago. Post producers technically, logistically and creatively look after post production; it’s no longer a case of just budgeting and scheduling.
What is your most productive time of the day?
Early morning, before everyone else has settled in for the day and late evening when LA wakes up. The added challenge with LA is trying to keep a balance so you are not working late every night. It’s tricky because if you can resolve an issue by emailing someone in LA at 11pm GMT, you can get a reply ready for the next day. If, however, you [shut down for the day] at 7pm you would often lose precious time waiting for a response. It’s something I struggle with; it is not unheard of for me to Skype at midnight.
The Great
How has the COVID shutdown affected the way you have been working.
My last show was The Great for Hulu, and we already had an incredibly fast post schedule, even before the added challenge of COVID, as the studio wanted it completed to meet the Emmy Awards deadline. We had just finished filming, so we had everything, and fearing a lockdown, my team had already made clones of all media to prep for this. We transitioned very well, and as we had already locked finales, a number of the episodes were in great shape stylistically.
The real challenge was ADR, as all soundstages were closed. We had mics and a recording kit sent to actors’ homes, and we were able to review grades remotely. (Files were sent to showrunners in remote locations in Sydney to be viewed on iPad Pros). Company 3 did a fantastic job and pulled out all the stops to get us over the finish line. I think starting a show with a remote workflow would be much more challenging because you wouldn’t have the same foundation to work from.
If you didn’t have this job, what would you be doing instead?
Police detective — 100%!
How early on did you know this would be your path?
I started in BBC drama as a runner, and we would often have post supervisors popping in. I loved how the role seemed varied even back then.
The Dark Crystal: Age of Resistance
Can you name some recent projects you have worked on?
The Rook for Lionsgate, The Dark Crystal: Age of Resistance for Netflix and The Great for Hulu.
What is the project that you are most proud of?
I think Dark Crystal. It was a monster of a show in all areas — filming, VFX, 1,000 hours of ADR. The team worked incredibly hard, and we were all stretched, but I think everyone did a fantastic job.
Name three pieces of technology you can’t live without.
My phone! I am always dashing from the cutting room to the stage to online, and my phone is welded to me. If I couldn’t keep up with messages and emails on the go I would be sunk.
iCal: I live by my diary. The post schedule is imprinted on my brain, but I couldn’t tell you when a personal appointment is without my calendar.
Excel: It’s what I use for the post schedule, and I love how you can see the overview of the show. I am a visual learner, so I find the color coding of all the stages easy to track.
What social media channels do you follow?
I am totally addicted to Instagram.
Do you listen to music while you work?
I don’t really. I am much more likely to be listening to a podcast like RedHanded.
What do you do to de-stress from it all?
When I find out, I will let you know! To be honest, I find relaxing hard, but I do yoga, and that helps. Also, leaving my normal surroundings — If I am home, I will just find tasks to do.
