Understanding the Final Rewrite

Embarrassed admission: This TVWriter™ minion didn’t know what anything talked about in the article below was until reading said article. In fact, I hadn’t even heard of the terms before.

Read up, kids, so you too won’t have to hang your heads in shame when you sit down with the film editor for last-minute refinements:

editing-film1by Geoff Heminway

What does trim head/trim tail mean? What is a Telecine transfer? How do you create a post calendar? Who attends spotting sessions, and what the heck are they anyway?

Surprisingly, many writers working on staffs today can’t answer these questions about post production. TV writer/producer (and Writers Education Committee member) Liz Benjamin (UnREAL, Blood & Oil) realized that after a decade in the business she had rarely stepped into an edit bay, and she was shocked to learn that many of her colleagues were in the same boat. Joining forces with WEC Chair Jeff Melvoin, Benjamin spearheaded “Post Production for TV Writers – Understanding the Final Rewrite,” a recent workshop for Guild members.

The crack panel of experts included Alicia Hirsch, Senior VP of Post Production at Fox 21 Television Studios, who has previously been involved with the Showrunner Training Program; Emmy-winning editor Kelly Dixon (Breaking Bad); Executive Producer Robert M. Sertner (UnREAL, Blood & Oil). Emmy-nominated editor Jonathan Schwartz (Modern Family) and editor/writer Alyssa Clark (Teen Wolf, Dominion). Melvoin (Army Wives, Alias) served as both a participating expert and MC.

With more than 100 writers present, the five-hour event turned out to be tantamount to a crash course in TV post production, or what Melvoin described as “a master’s education in a matter of minutes.”

6 Things Every Writer Should Know Before Entering an Edit Bay

Read it all at Write Now