TV Producer Career Insights: Behind the Scenes After Filming Ends

He was a DP who was out shooting in the Middle East.
He was actually shooting in Beirut and he called and said, I need you to get this lens, that lens, whatever lens on the plane over to me, and I had no idea what he was talking about.
Importation bonds.
Hi, welcome to How much can I make?
I'm Eravo Zeri.
What does a TV producer actually do?
I don't think it's an easy job because you constantly have to make decisions under pressure, shaping stories, managing crews, hitting deadlines, and keeping everything moving when things don't go as planned.
So what does the job really look like?
How do you break in?
And what skills matter the most?
Today we're going to talk about the job of the post-production producer.
And with us is Robin Feldman.
Hello Marah.
Thank you for willing to do this and share your experience with us.
I highly appreciate it.
So let's dive right in and let's find out what is your job exactly in TV.
I know I see your name every now and then.
And how did you get there?
Okay, well, let's talk about what I do.
There are a lot of different types of producers in TV and film, some of which are exact producers because they have helped to finance the project.
The producer is somebody who helps to bring a project to life.
And in my case, I am what you call a post-production producer.
I generally get a producer credit or a supervising producer credit.
But the idea for me is I am on a project from the very beginning to the very end.
And what that means is I am the person who oversees everything it takes to get something to screen.
So on a TV series, I start in pre-production, helping to put a budget together based on if it's a pilot, which is one episode, or if it's a series based on six, twelve.
And in the olden days, we would do 22, 23 episodes of TV a year.
Primarily, I help to put together a budget that takes into account everything that it takes to get something to screen.
Meaning I oversee the editors, the assistant editors, music, visual effects.
I at the very beginning start to work with the director of photography who wants to figure out how he's going to shoot, what he's going to shoot on, what camera he's going to use, what our deliverables are for the studio or for the network.
And we put together a workflow because that workflow ends up in editorial with our editors who cut our footage.
How do you know how to do all of this?
I understand now you have a lot of experience over the years, but did you learn on the job?
I learned on the job.
How I actually started was in Vancouver in the late 90s.
Vancouver started to boom.
We had shows like X-Files Millennium, and I worked for a director of photography, Curtis Peterson, who actually specialized, he's a Canadian director of photography, still is, and he specialized in second unit photography.
So primarily in BC, he shot big snowmobile movies, skiing movies, all of the aerial photography, all of the interstitials, and I ended up there.
But the interesting story of how I ended up with him is I moved to Vancouver.
I didn't have a job.
I banged on a ton of different doors.
I handed out my CV, and there was this one company called Peterson Productions that I bothered so much that one day they fired somebody, and literally the woman, Rosanna, said, Hire the girl that bothers us all the time.
And that's how I got the job.
What you knew you wanted to be in television production?
I knew from a young age I wanted to be in storytelling.
I've always right out of the gate as a kid knew that I had an ability to bring people together.
I had an ability to figure out how to get something done when it was a challenge.
I liked working with people.
I liked the creative aspect of it.
I knew I wanted to produce.
So if somebody wants to start, do they is there any kind of school where they can go and lots of film schools?
Lots of kids go to film school and they learn theory.
They learn how to put together a film.
They learn how to work with others.
They are given a budget.
They are given a task.
And it's a really great place to meet people.
It's a really great place to spend$100,000 a year.
I personally don't think you need to go to film school to become a filmmaker.
I think it's something that you love right out of the gate.
As a kid, you want to be a storyteller.
You know the power of the word, you know the power of a visual.
But how I started really was being thrown into it and sinking or swimming, or not even, or being so young, you don't even think about are you gonna sink or you're swimming?
You just do it.
Curtis, I never met him for the first six months I worked there.
The man who owned the first company I worked at.
I never met him.
He was a DP who was out shooting in the Middle East.
He was actually shooting in Beirut, and he called and said, I need you to get this lens, that lens, whatever lens on a plane over to me.
And I had no idea what he was talking about.
Importation bonds, all of that stuff.
And I remember he called me in the middle of the night and like I hung up and I was like, I don't know what to do.
I have no idea how how do I do this.
And I figured it out.
At a young age, you either figure it out and you face a challenge and you're scared shitless and you do it, or you become paralyzed with fear and you don't.
So I think those are roads that happen to you when you're growing up.
With whatever you do, you decide, all right, well, I'm gonna fuck up at some point, and that's fine.
And then everybody around you is like, I don't fucking know what I'm doing.
And you don't know what you're doing together as a group.
And that's really like anything, but in this particular industry, I feel like there is a collective of people that do that together.
You knew that you wanted to get away from music videos and all that and get into television for that stuff?
Get into something that was bigger, that was more dynamic.
I think for me, if I'm going to be a producer, what does that mean?
What does it encompass?
Well, and to go back to the beginning, all of these different kinds of producers, what exactly did I want to do?
What kind of producer did I want to be?
And the foundation of producing commercials and music videos gave me a really solid base of budgets.
I have this much money, this is how much it's going to cost.
How am I going to get to my budget?
Where do I cut?
Where do I add?
What's important?
What do you fight for?
Because once you do this enough, you know ultimately where the absolute dollars have to go to.
So it was a really good experience for me doing something from the beginning to the end.
And what postproducers do, which a lot of people do not know, is they are on from the beginning of a project to the end of a project.
Right.
You mentioned before that you worked with the DP and all of that.
And um, isn't it the director's job?
It the in television, it's really a showrunner, writer, DP medium.
Film is a director medium, meaning on a film, a director is on, if he's lucky, from the very beginning to the end.
Depending on the film and the director and the power, they're very different mediums.
And post producers have a different role on features that they do in TV.
A post producer's role in in features is really very much of a post supervisor.
They're not, they don't have, generally speaking, as much of a creative input as they do in TV.
Oh.
So it is a very different, it's a very different world, and I've been very lucky to to have worked in both mediums, and depending on who your director is, being able to have creative input.
I spent five years of my life with Michael Mann in features, which is a whole different category of everything.
I I learned the most working for him and that team.
But television, if you're lucky enough to get on and work with a really great showrunner like Michelle and Robert King, who I've been unbelievably fortunate enough to work with for a very long period of time, they are so collaborative that you're allowed to have and you're encouraged to have creative input in edit, in color, in mix, in music, in visual effects.
So without a doubt, they are my favorite show runners to work with.
But to back up in Vancouver, I started as a script coordinator, which meant I was in the writer's room and I helped to basically just coordinate all of the scripts that would go out on a daily basis.
That's management.
That's, you know, all these little things in your brain that help to teach you how to manage time, how to manage people, how to manage expectations.
And so a lot of it is really common sense.
A lot of it is common sense, and a lot of it is the ability to be able to stop for a moment, see what the problem is, how do you solve the problem?
And it's collaborative.
This industry is incredibly collaborative.
You can't do anything in a bubble.
Really, how I got to post-production, and I think this is really important, is I started in production and I was lucky enough to have the opportunity on a show in Vancouver.
My boss at the time, we were moving a show back to the United States, to Los Angeles.
And there was a production executive at Universal, a very beloved production executive named Bob Minkoff, who asked my boss in Vancouver if she wanted to bring me to LA.
That never happens.
That's universe looking out for you, right?
That that doesn't happen to Canadian.
Hey, do you want to bring your assistant to LA?
Never happens.
That happened to me.
And what show was it?
It was a show called Sliders, great show.
And I remember Michelle, my boss, calling me and saying, Robin, do you want to come to LA?
And I was like, wait, what?
Okay.
And I remember calling my mom and asking her what I should do.
And she said, get in the car and start driving before they change their mind.
So that's how I got to the States.
Uh-huh.
And then from there, the big, the move, big move to post was on Felicity.
So there was a TV series that ran from 1990, 1998 to 2002.
And my boss at the time, Michelle, was like, What do you want to do?
Because I had outgrown my role with her.
I said I wanted to go into post because in order to be a good producer, you have to understand how everything works on a production from pre-pro to production to shooting to post-production.
What goes in?
You have to be able to shut your eyes and understand how the whole machine works.
And I was like, I want to go into post.
I love technology.
I want to, I want to be there now.
And that's how I moved into post-production was on Felicity, which was an amazing experience.
What other shows you worked on?
Well, from Felicity, which was all you have to remember too, the industry has changed so much.
We're in a digital world.
When we, when I first started, we were in an analog world, right?
We've gone from doing tape delivery to file delivery, which, you know, for somebody like me who's crossed thresholds, it's been a fascinating run and experience to see how that's changed.
So Felicity, then we did the alias pilot.
That went on to be a huge show, bunch of other TV series, lots of pilots.
And then I landed in Michael Mann World.
He really pushed you beyond what you thought your capacity was.
One of my favorite films growing up was Last of the Mohicans, which was a Michael movie, and Thief, which was a Michael movie.
So if you would have asked me back then when I was watching those films, that one day I would be working for him, I would have been, that's the most craziest, ridiculous thing I've ever heard.
So it was those moments that I was like, oh my God, I'm sitting in this room listening to these people, and somebody's asking me my opinion, or I'm sitting in this room, and Michael's asking me to do something that is literally 99.999% impossible to achieve by a Monday, but you figure out how to do it.
And that relates back to the very beginning of Curtis saying, get these Zeiss lenses on a plane to Beirut, and me going, What?
I don't know how to do an importation bond.
What does that even mean?
So you start to thread the needle of experiences that you know it doesn't matter how terrified you are or how shitty you feel or how tired you are.
There's that part of everybody that is like, I'm going to finish what I started.
This is what I wanted to know.
You said you wanted to be a producer.
Is that because producers make more money?
It's not about the money thing, although the money certainly, you know, no, it's part of it, of course.
You want to make a living and you want to be paid for your services.
But I never wanted to be an editor because that was not my forte.
I did not want to be in a room for 12 hours a day staring at computer screens, cutting footage.
That was not what I wanted to do.
I know where I work best, and I work best being able to lead teams and being able to see those teams thrive.
How many people in your team?
Uh, usually I have three editors, three assistants, an apprentice, my second, a coordinator, a lot, 10 people maybe.
Wow.
And then you have music, visual effects.
If you're lucky enough to have a VFX team on your show, if there's enough money, you're working with them.
And on smaller shows that don't have that budget allocation, then you're not only the postproducer, you're the VFX producer.
Sometimes you're the VFX supervisor.
So having your hand in all of these different elements can make you really good.
Sometimes it's really hard because then you get spread too thin and you're always worried that something's gonna fall through the cracks.
I saw your name on shows like Evil, uh, The Good Fight, and those are really very successful network shows.
That's Robert and Michelle King.
They are brilliant.
What is it like working for such a hit show and is it comp compared to smaller shows, which I'm sure you've experienced also, right?
Yes, of course.
I would say that the thing about working on, you know, the good fight, evil, brain dead, which is one of the first shows I did for the Kings, which is still my favorite show.
They're smart.
When you're working with smart people who are inclusive, it's very rare and it makes things a lot easier.
And that's a big difference than working with.
But that's just a matter of luck.
It's just a matter of it's luck.
This is this whole business is luck.
Because I haven't worked on like like succession or like big, like HB, like huge.
I I'm always like, I want to do this, I want to do that.
And then you have the opportunity, like I have, to do those kinds of shows, and you're like, oh my god, no, thank you.
I want to know the difference between working for television and streaming.
Okay.
Because the world has changed.
Change.
It is and it's and it's changing again.
So why is it changing again?
Because we're going back to linear format, which is a broadcast.
So the big three, right?
ABC, NBC, CBS.
Traditionally, we would do 22 episodes a year, series would run for years.
Um, it's different because you have more episodes to deliver in a shorter period of time because you're hitting air dates.
In broadcast, you're shooting and delivering all at the same time.
Okay.
And that can be really challenging because you have a much shorter post-period between the last day of dailies and when you actually have to deliver an episode.
Right.
Remember too, in in network, you are tied to a time, right?
We call it your total running time.
Most network shows are like 42 minutes in change.
Right.
Streaming shows can be like 55 minutes.
They're much shorter.
It doesn't matter, yeah.
Because they're not tied to a programming, a schedule, an advertiser.
So before we get into the money, walk me through a day in your life on your job.
So it depends.
It depends on if we're in pre-production, if we're uh shooting, and if we're in post-production.
So pre-pro, you have your first script, you're breaking it down, your first AD walks us through the script.
We talk about the concept, what it takes.
So every department will have a meeting where they go through what they need in order to be prepped, prep, pre-pro, for the first day of shooting.
And we do that for every single episode.
Then on a daily basis, when production starts shooting, we get our dailies, which is everything that is shot that day, which is why we call it dailies.
We get our film the next day.
The editors start working, they start putting the cut together, and then we have to spot the episode.
You spot for sound, you spot for music, you spot for visual.
What do you mean spot?
Spot means we all sit down, the sound team all sit down, and we watch the episode and we look at the scene.
What's going on here sonically?
What's happening in the background?
Is there a storm?
Right?
Every it depends on what the create what what's the story about.
So there's a lot of subtext that go into that goes into making a TV show.
All the little nuances that you might hear, that's all discussed.
So there's a sound spot, then there's a music spot.
Where does score come in?
So we spot that literally.
We watch, we talk about it, we move on.
So the whole team makes this decision?
I thought it was a director.
No, and TV, the director is usually done after the director's cut.
TV is a showrunner medium.
So the kings.
And then sometimes, depending on how long a show has been going on for, they wouldn't even be Robert and Michelle wouldn't even be involved.
It would be the editor and myself who sit there and talk about everything.
It's so show dependent.
So it sounds to me like somebody who has your job needs to be highly organized.
Very.
What other skills or character traits?
I I'm really gonna say it it's people skills.
It's the ability to bring all sorts of different people in a room and to be able to have an agenda, get through that agenda, and make everybody in that room feel like they've been heard.
It's also problem solving.
It you have to be able to be a problem solver, you have to be able to delegate.
Being able to, as a post-producer, being able to delegate to your team is imperative because there's so much that goes into getting a show done.
Like my second on this show is I like he deals primarily with visual effects because I am dealing with music and sound and budget and schedule and so many other things that if I was to do everything, something's gonna get missed.
So you have to be able to delegate, you have to be able to empower your team to do what they do.
Our coordinator schedules all the ADR, which is when all the actors have to come in and redo some dialogue.
All of the credits, opening credits and credits, those all have to be documented, tracked, approved.
It's a big job.
So every person on my team has a specific set of tasks that they have to do on a given day.
Or whatever kind of producer you are, even out of television, you're only as good as your team is.
So you mentioned line producer, executive producer, producer, boss producer.
Can you briefly just explain the difference between line, executive, and well, so a line producer and TV is generally the like they're at the top, they are responsible.
Literally, it's a line producer.
So you have the budget, every budget has a line.
They're responsible for the whole crew.
Okay.
They don't oversee me, but they oversee production.
But I work closely with the line producers.
The line producer has a much bigger job because their grips and electrics and costumes and wardrobe and transport and catering, they have a huge crew to run.
And post is a very small part of that.
But essentially, I would be the line producer of post-production.
Right.
Right?
Just on a smaller scale.
So give me an idea how much a line producer can make, how much?
Well, they're under the guild.
You have to remember too that the majority of this industry is unionized.
How do you get into the union?
A lot of us have what we call, we're called non-union affiliate producers, meaning that we get benefits from motion picture, we get healthcare, we get money towards our pension.
But postproducers were considered management.
Oh.
Which is okay, but so are all of those producers in production.
They're all management.
Line producers are in the directors' guild, UPMs are in the director's guild, the whole crew is unionized.
So we do you know what is their pay for?
I do know.
I mean, you can look it up, but they they get paid significant amounts of money for doing hard jobs.
So when I negotiate, I look at what those rates are.
Uh-huh.
I know what my rate is, and I know what I will work for and what I won't work for.
You calculate your rates by the hour, by the week, by the month.
I'm on a weekly, but I also like stuff for me that's non-negotiable is my MPI benefits.
Like if a show and motion picture.
So motion picture is how I get my health care and how I get paid into a pension.
So if a show came to me and said, Oh, we'll pay you your rate, but we're not going to pay your benefits, I wouldn't do the show.
That's how studios save money.
They save on the fringe, quote unquote.
The fringe is what it costs a studio to pay the benefits.
So are you an employee?
Or are you 1099?
I'm a I'm not a ten I'm a loan out.
I'm my own company.
So I, you know, this business is all freelance.
Right.
So once you hit a certain amount of money, it behooves you to become a loan out so that you get all that money back so that you manage it properly.
Which means that I'm not taxed at source.
I get all I get whatever my rate is, that's what I get.
And I deal with my own tax quarterly finances, yes.
What happens if you work on the show that you don't like?
Oh, well, I mean that happens all the time.
It does?
Yeah, of course.
Not necessarily to me, but I have definitely worked on shows that I don't like.
I don't like how it's run, I don't like the showrunners.
I have a hard time with the editor.
But what if you don't like the story?
Oh, that happens all the time too.
I think you look at you look at what you do like about it.
It challenges you for sure because it's hard to work on something that you're not engaged in.
So you have to find elements of the story that you do like.
You have to challenge yourself, maybe not creatively in the story, but with the budget and the schedule and your team, and it's always a learning experience.
So sometimes I've learned more on shows I don't like than shows I do like.
But for me, the idea that I have an out, meaning eventually the show finishes.
I love that if I'm working on something I'm particularly challenged with for whatever reason, it ends.
It ends.
So what happens when it ends in between shows?
How do you survive money-wise?
Very, very knockwood.
I've been very lucky.
I've only had two times in my entire career where there was a lull because of a strike or something else that was going on in the industry, and it never lasted that long, maybe a couple of months.
The writer's guild strike and the and the director's guild strike has been very challenging.
The streaming direction has been very challenging.
There's a lot of shows going to the UK and overseas right now because they're predominantly non-union shows, so their budgets are smaller or they're bigger, but they don't have to pay the union rates.
So you have an opportunity to make money on the side at the same time.
I call it the perfect side hustle.
And for me, the perfect side hustle at this point in my career is an awesome series and like a small indie feature.
You can actually work on both projects at the same time.
And how do you handle tight deadlines?
Um well, like I had said earlier, being a doing post on a feature is very different than editor than than series because you're so much more involved in series than you are in features.
Postupers on features, or at least the kind that I choose to do, are helping, you know, the budget and the schedule, just getting things done.
You're not, I'm not in with the editor.
I don't really care to be because that's like that.
It's the director is with the directors with the editor, the first assistant editor is there.
There's certain things that I'd like to be involved with.
If I have the opportunity, if I'm if I'm included or invited to, sometimes it's just a matter of a low-budget film that needs somebody to help keep everybody in their guardrails.
And and that makes me feel good, right?
But how you manage it if you work like 10 hours a day?
Because if you have a really well-oiled machine and you have a really good team in the TV end of things, then everybody's doing their job and you can have those moments.
It's about knowing how to bob and weave.
It's about like in the morning, maybe I'll start out on the feature.
Is everybody up and running?
Where are we at in the schedule?
The other thing I'll do is if I'm on a series and I'm asked to do a feature, I have to look at what the schedule is on both.
Like if they're too parallel with each other, meaning if I'm really into heavy finishing on a series, and at that same time we're starting to mix and grade color on a feature, I might not be able to do it because they run too parallel with each other.
But on a big first-year series, you might not want to have a side hustle because you want all your focus to be on the series.
It just depends where and what it is and who it is.
Like I'm not just gonna do anything, it's gotta be a script.
This is where I'm picky.
It has to be a script I really like, that I'm really interested in, that I really want to see done.
And sometimes if they can't afford me, then I'll come in.
I did this on a film called Ezra, which was a beautiful film, and I'll come in and I'll set up the film, and then I'll have my coordinator who I work with a lot, who is Excuse me when you say set up the film, what do you mean?
I'll set up the dailies, the budget, the schedule.
I'll do I'll get all the pieces on the chessboard in place.
Okay.
So, and if they want, they can always call me for other things, but somebody maybe not as experienced will come in and run the day-to-day operation.
What are the possibilities of growth in your business money-wise?
If I'm looking to increase my yearly income, is that what you're saying?
Yes.
Well, I think then it's about the side hustle.
You know, I get paid a healthy wage, so I shouldn't be and I'm not focused on extra bits.
I've been fortunate enough with the Kings that a lot of times we've had overlapping shows.
There were four years that I was working on multiple shows at the same time.
Still 10 hours a day, or was it I mean, sometimes longer because you have to get caught up, but then you're getting double and triple paycheck.
But that's very rare.
That happens very rarely.
At the most, maybe a showrunnel will do a pilot and finish a series at the same time.
This does not happen to most people.
What project is your favorite project that you worked on?
Oh Felicity.
I've re-watched that series so many times.
If I look at it all together, I think working for the Kings has been my favorite because of the team that I've had.
Do you get to meet the stars of the show?
Sometimes, and I you know, people don't like it when I say this, but like I don't really care.
I mean, I really don't because you know that that saying, like, never meet your heroes.
Um, you know, the gang on Felicity were great because they were all new.
They were coming, it was the WB years.
It's like a completely special time period.
Carrie Russell is one of the nicest human beings I've ever met.
Scott Speedman, Scott Foley, like all of those guys, like it was great.
The cast on The Good Fight were next level.
Christine Baransky, you know, Audrey McDonald.
Uh there's But did you get to meet them?
Yeah, of course, of course.
Of course.
But I've never wanted to get it's never been my thing.
Whoa.
It's never been my thing because I never want to be disappointed.
I'm more interested in who's directing.
I'm more interested in the showrunners, what can I learn from them?
Um what's your dream to become a showrunner, Alexa?
No, no.
My dream is what I'm doing is just to is to keep working on good shows with good people.
That's that I I feel like I've achieved that dream.
Right.
Whatever dream I have to do separately, you know what my dream is.
I want to find a great script and make a great movie.
That but I don't have the time and I don't have the bandwidth and my brain hurts.
Right.
And that's a really hard thing because the danger of what we do is you're so busy, your bandwidth is really spread that sometimes we forget why we got into this business in the first place.
The things that we really want to do, the interests that we have, they get sidelined to help other people realize their dreams.
Right.
And I hope for myself in the next four or five years that I will be able to put a little bit more focus on what I want to do creatively.
However, with that said, I also recognize that if that day ever comes, the collection of people that I have, the vendors included, I know that I would be able to turn around and say, hey, I'm doing this now for myself and I need help.
And I know that people will be there for me, whether it be processing your dailies for free or a couple days on a mixed stage or some VFX help or some showrunner guidance or some script feedback.
Those are, I feel like the bonus points that you accumulate along the way.
If you're a good, kind person to be able to at some point turn around and ask something from somebody.
You know, the funny thing with all the different people that I interview, every single one of them say you have to be a kind person to get whatever you want.
It's like a and genuinely kind, not manipulative.
No, no, no.
So if you could give one piece of advice to a 20-year-old that is trying to break into the industry, what would that be?
Don't it's hard.
It's hard, but it's great pay.
It's very sexy.
No, no, no.
It it it's it's that's all from the outside.
It's sexy from the outside.
It's great pay once you hit something.
It's harder and harder and harder.
It's like any generation, right?
And it's like any field.
It's harder and harder to get into.
There's more and more people doing it.
There's a lot of people doing it that shouldn't, that don't have the talent, that aren't good at what they do.
I would say to anybody who wants or thinks that they want to do this, whatever this means, you really have to do it because you love it.
You have to have faith that the money and the accolades will come and they have to be tertiary.
They can't be why you do this.
You have to want to do it because it's something that you really feel passionately about.
And you have to allow yourself room to fail.
I think you also need to be really specific about what it is that you want to do.
And at the same time, I think you have to be open to doing anything you can so that you understand the business.
This business.
And this business only works when you have an appreciation and an understanding of what your brothers and sisters do.
And what would you say is the biggest challenge?
The biggest challenge is working with people that you do not like.
Oh, wow.
How do you understand that?
The biggest challenge is working with people you don't like or working with people who have far less experience than you do and don't have the or can't put their ego in their back pocket long enough to be able to say, Hey, can you jump in and play with me?
Because this is really hard and I'm not quite sure.
That's the biggest challenge for me.
And what would you say is the biggest reward?
The biggest reward is when you see your post-coordinator being an editor or when you see all the people that you like mentored move up.
Like, that's the biggest reward.
My biggest reward this year was like Emma Jane like producing her first legit feature that got a great write-up in the reporter that's gonna go to market.
Like, that's the reward.
The reward is seeing the people, oh, it makes me cry.
That's the reward.
The reward is seeing those people do awesome things.
I thought you were gonna say the reward is to see my name on TV before the show is.
Oh, dude, I don't care about that.
Like, that's hilarious.
My mother still like takes a screen grab of it.
I mean, that's nice, but you know, the reward is also being asked back.
Right, very good.
There you go.
All right, darling.
Great advice.
Thank you so much.
My god, that was like going to a quick school about uh the TV industry.
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