Archive all Maya/Blender/Houdini scene files, texture libraries, rig files, creature/effects rigs, and final render outputs. Archive VFX project files and compositing sessions. This is typically the largest data volume in the animation archive.

Archive Avid/Premiere editorial project files, EDLs, AAFs, and editorial metadata. Archive Pro Tools sessions, stem mixes, Foley recordings, and music sessions. Consolidate all delivery masters (picture, audio, subtitles, accessibility) into a structured archive.

Archive all contracts, clearances, rights agreements, chain of title documentation, co-production treaties, and music cue sheets. Organised for retrieval by rights window, territory, and licence term.

Enter the production into the studio or distributor's asset management system with comprehensive metadata (cast, crew, episode structure, format details, rights windows). Tag all archived assets with consistent naming conventions and retrieval metadata.

Verify integrity of all original digital source files, scene files (Maya/Blender/Houdini), texture libraries, rig files, and render outputs using checksums. Confirm no data corruption before committing to long-term storage.

Select storage format and medium (LTO tape, cloud cold storage — AWS Glacier/Google Coldline, or hybrid). Assign retention periods aligned with distribution licence terms and co-production obligations. Document access and retrieval protocols including file structures, naming conventions, and restoration procedures.

Produce audio description track for visually impaired audiences. Create BSL or local equivalent signing version where required by broadcaster or regulation. QC all accessibility deliverables against platform specifications.

DI colourist performs the primary colour grade in HDR (Dolby Vision or HDR10). Director approves grade for mood, consistency, and visual intent. SDR trim pass derived from HDR master with manual adjustment. Technical QC run on all graded masters.

Master a Digital Cinema Package for theatrical exhibition. Includes encryption, KDM management, and DCP QC. Applicable to feature films and shorts with theatrical distribution.

Confirm exact technical requirements (resolution, codec, colour space, audio format, file naming, metadata) for every delivery destination. Run automated and manual QC against each platform's specification — PSE testing, loudness compliance, gamut/nit levels for HDR.

Upload files to each platform's delivery system and receive technical acceptance confirmation. Create broadcast-specification masters for linear TV. Produce territory-specific versions (ratings cards, distributor logos, language-specific title cards). Confirm all music, IP, talent, and third-party rights are cleared for each territory and platform.

Establishing revenue reporting mechanisms with all distributors and platforms before delivery is signed off. Covers royalty tracking setup, co-production revenue share schedules, and confirmation that all reporting obligations are in place per distribution agreements.

Create SDH subtitles for the original language and foreign language subtitles for all international territories. Coordinate dubbed versions — script translation, voice casting, recording, mix, and QC per language. Manage localisation coordinator and territory-specific requirements.

Originate or acquire the core creative concept — develop original IP or option/acquire existing IP (book, comic, game, toy line). Register trademarks and establish NDA frameworks for pitch materials.

Assemble the financing plan — identify co-production partners, applicable tax credit jurisdictions, pre-sales territories, and equity investors. Structure co-production deals across territories.

Produce short animated tests demonstrating the proposed visual style and technique. Used to validate the creative approach and as a pitch tool for financiers and commissioners.

Develop the series bible (for episodic) or screenplay (for features), establishing world-building, character arcs, tone, and thematic intent. Iterative drafts reviewed by director and producer.

Formal presentation to financier(s) or commissioner with series bible/screenplay, concept art package, proof-of-concept footage, financing plan, and attached key creative team (director, production designer, head of story).

Produce exploratory concept art covering character design, environment style, colour palette, and overall visual language. Establishes the look and feel of the production before any asset build begins.

Produce Electronic Press Kit including behind-the-scenes footage, artist interviews, and making-of content. Cut teaser trailer (using WIP or specially rendered material) and full trailer (using approved rendered footage). All trailers mixed and graded to release quality.

Identify target festivals (Annecy, Ottawa, Zagreb for animation-specific; Cannes, Venice, Toronto for crossover prestige). Organise press screenings with NDA/embargo management. Coordinate press junket logistics — voice cast and director availability for interviews and promotional appearances.

Create poster artwork, banner art, and social format assets — typically illustrated from rendered character art. Finalise the title treatment/logo for all marketing materials. Compile press pack. All assets approved by director, producer, and distributor.

Create short-form social media content, character reveals, and behind-the-scenes clips. Brief digital agency on paid campaign strategy and launch timeline. Produce platform-specific marketing pack required by the commissioning platform's marketing team.

Post-picture-lock re-recording sessions for specific dialogue lines where performance, technical quality, or script changes require it. Distinct from production-phase voice pickups — these sessions are triggered by the locked picture and are coordinated by the Supervising Sound Editor against the final editorial timeline.

Edit and clean all voice recordings to the locked picture. Ensure lip sync accuracy and performance consistency across all scenes. Dialogue editor manages sync and continuity. Conformed sessions delivered to the mix.

Foley artists perform and record all synchronised physical sound effects to picture — footsteps, cloth movement, object handling, impacts. Foley supervisor oversees sessions; foley recordist captures performances. Edited and delivered to the premix.

Director, composer, and music supervisor review the locked picture to determine music placement, duration, and emotional intent for every cue. Spotting notes issued to composer as the brief for score composition.

Premix dialogue, effects, and music stems for director review. Conduct final 5.1 surround mix on the dubbing stage. Derive stereo fold-down. Create Dolby Atmos immersive mix (for theatrical/premium streaming). Produce M&E (Music & Effects) stems for international versioning. QC all audio deliverables.

Composer writes and records the original score — from small ensemble to full orchestral sessions. Orchestrator arranges for the recording ensemble. Score recorded to click track against locked picture. Licensed music cleared and edited to picture. Score mixed and delivered as stems.

Create original sound effects and sonic textures for the production's world. Sound designer develops signature sounds for characters, environments, and events. Sound effects editor sources, edits, and places all non-Foley effects against picture.

Layer rendered passes (beauty, shadow, AO, effects), integrate VFX, apply lens effects and final image treatment. Compositors work from approved renders and effects passes. Reviewed by compositing supervisor and director. Includes roto/paint for hybrid productions.

Final technical assembly at delivery resolution. Conform/online editor replaces all proxy material with final composited frames, verifies every frame is correct, and prepares the timeline for colour grading.

Assemble rendered frames into the editorial timeline, replacing animatic with final animation and renders on a rolling basis. Editor works with director to review rough cut, refine timing, pacing, and transitions across the full production.

Director and producer review and approve the fine cut. Refine timing, pacing, and transitions to final quality. Obtain formal picture lock sign-off from director, producer, and commissioner. Locked EDL/AAF issued to all post departments.

Brief and select VFX vendors for any outsourced or specialist effects work. Deliver plate renders, camera data, and asset files to vendors. Conduct iterative review cycles. Receive and approve final VFX deliverables at full resolution.

Cut storyboard panels together with scratch dialogue and temp music to create the story reel — the first watchable version of the production. Iterative revision with director, producer, and commissioner until storytelling is locked.

Finalise all character designs — approved turnarounds, expression sheets, costume details, and model sheets for every character. Reviewed and approved by director and production designer.

Create colour keys for every sequence establishing palette and mood progression across the full production. Reviewed and approved by director and production designer before look development begins.

Finalise all environment and prop designs — architectural style, natural features, key locations, and all significant interactable objects. Approved by director and production designer.

Story artists draw sequential panels translating the approved script into visual sequences for every scene. Iterative revision cycles with director and head of story until storytelling approach is locked.

Record principal voice cast against the approved animatic. Voice director guides performance to match character and story intent. Capture alternative line reads for flexibility in animation. Sessions conducted in sound-treated booth with director and voice director present.

Identify, audition, and cast all voice talent. Casting director presents recommendations to director and producer. Negotiate and execute talent agreements including contractual pickup session windows.

Scale up from core creative team to full production crew across all departments. Hire and onboard modellers, riggers, animators, lighters, compositors, sound, and production management staff. Establish identity management and security access.

Configure the full production pipeline: render farm provisioning, software licensing (Maya, Blender, Toon Boom Harmony, Shotgrid/ftrack/Kitsu), asset management system setup, file naming conventions, version control (Perforce/Git LFS), and network/storage infrastructure.

Develop the full production schedule and budget. Assess shot count, asset count, and complexity. Create department milestone plans and crew scaling schedule. Obtain sign-off from producer, line producer, and commissioner.

Complete and approve all scripts or episode scripts. Script editor reviews for consistency, pacing, and production feasibility. Director and producer sign off before storyboarding commences.

Create all particle effects, fluid simulations, cloth/hair dynamics, environmental effects (rain, snow, dust, fire), and crowd simulations. Effects artists and CFX artists work in parallel with lighting. Reviewed and approved by effects supervisor and director.

Set up virtual lighting rigs for every shot — key, fill, rim, practical sources, and atmospheric effects. Lighting artists work from colour script and director of photography guidance. Reviewed by lighting supervisor and director before rendering.

Conduct daily or weekly reviews of work-in-progress across all departments (animation, lighting, effects, rendering). Track shot and asset progress in production tracking software (Shotgrid/ftrack/Kitsu). Director issues notes; supervisors manage revision cycles.

Process all final frames through the render farm. Render wranglers manage job submission, troubleshoot failures, and optimise render times. Hybrid on-premise/cloud burst capacity managed to meet sequence delivery deadlines. Rendered passes delivered to compositing.

Ongoing maintenance and enforcement of the production's visual style guide and look library throughout the production phase. Includes regular cross-department consistency reviews, updates to the style guide as new assets are approved, and sign-off by the Look Development Supervisor and Art Director to prevent style drift across a long production timeline.

Build all 3D digital models of characters, environments, and props to match approved designs. Character modellers, environment modellers, and prop modellers work in parallel. Models reviewed against design sheets and approved by modelling supervisor and production designer.

Animate all characters and scenes shot by shot, working from approved layout, animatic timing, and voice recordings. Keyframe animation (3D/2D) or motion capture cleanup. Multiple review cycles per shot (typically 2–5 rounds) with director and animation supervisor notes.

Block out camera angles, character staging, and basic timing in 3D scenes (or as refined storyboard panels for 2D). Confirms shot composition and animatic timing before committing to full animation. Reviewed and approved by director and director of photography.

Apply materials, textures, and shaders to all 3D assets. Look dev artists create texture maps (diffuse, specular, displacement, normal) and shader setups. Reviewed against colour script and approved by look development supervisor and director of photography.

For productions using motion capture: operate the capture volume, record actor performances, process and clean raw capture data. Motion capture technicians manage hardware calibration and real-time playback. Cleaned data handed off to animation for further refinement.

Record additional voice performances, revised lines, and pickup sessions as required by evolving animation and script changes. Managed by voice director and dialogue editor. Sessions scheduled around talent availability within contractual pickup windows.

Build skeletal, facial, and deformation control systems for every animated character and deformable asset. Character riggers build body and facial rigs; creature/effects riggers handle non-humanoid and deformable assets. Rigs tested and approved by animation supervisor before handoff.

Every piece of transmitted content, raw footage, and incoming feed is logged daily with metadata in the MAM system. A continuous operational function — without it, the archive becomes unsearchable.

Ensuring archive material is backed up and geographically distributed protects against catastrophic loss. Formally managed as a periodic workflow step with documented testing and sign-off.

The library team adds editorial context, cross-references, and subject tagging beyond basic technical metadata to make the archive genuinely useful for future story research.

Migrating archive material from legacy formats (tape, older digital codecs) to current storage standards as technology evolves. Essential for long-term preservation of historically significant material.

Material subject to legal proceedings, regulatory investigations, or FOI requests is flagged and preserved regardless of normal retention schedules. Protects the organisation from destruction of evidence claims.

The organisation's retention schedule is applied to all archived material — news programmes typically retained indefinitely, raw footage subject to time-limited retention (1–5 years).

All material is marked with its rights status to ensure future use complies with licence terms. Prevents inadvertent rights breaches when library material is retrieved for future stories.

Audio description tracks for visually impaired audiences are required on catch-up platforms under accessibility regulations. AD production is formally managed as a delivery step for on-demand versions.

For international co-productions, news exchanges, and long-form features distributed internationally, M&E stems are created to allow foreign language voiceover to be laid over the top.

Real-time captioning during live transmission using stenography or speech-to-text with human correction. A regulatory requirement in most jurisdictions, requiring trained operators and backup systems.

Post-transmission captioning refinement for catch-up versions corrects real-time errors in live subtitles. Required for on-demand publication and must be completed within the catch-up publication window.

The daily editorial meeting is the foundational commissioning act in broadcast news — story prospects are pitched, evaluated, prioritised, and assigned. This is the equivalent of a greenlight decision in conventional production.

Editorial standards pre-assessment identifies legal, regulatory, and ethical risks in planned coverage before resources are committed — covering contempt, privacy, national security, and impartiality obligations.

Forward planning tracks the news diary — parliamentary sessions, court dates, scheduled events, embargoed releases, and international summits — enabling advance resource and crew preparation.

Long-form investigations require sustained research over weeks or months, including FOI requests, source cultivation, and legal pre-assessment — tracked separately from the daily news cycle.

For planned major events — elections, summits, trials — the operation must pre-book satellite time, secure OB positions, arrange accreditation, and confirm technical access well in advance.

Continuous monitoring of wire services, social media tools, emergency scanners, and tip lines to identify breaking and developing stories. A 24/7 function on rolling news channels.

Monitoring ratings, audience demographics, and social media sentiment informs editorial and scheduling decisions. Formally reviewed at editorial board level and fed back into the editorial planning cycle.

Entering journalism awards (BAFTAs, RTS Awards, Emmys, Peabody, duPont-Columbia) for recognition and prestige. Formally managed with defined deadlines and editorial selection processes.

Creating and maintaining the programme's title sequence, stings, and brand identity. A periodic but essential marketing function with refresh cycles typically every 2–5 years.

Cutting short promotional clips (trails) highlighting upcoming exclusive stories, investigations, or special coverage to drive tune-in. A standard marketing activity for news programmes.

Making bulletin recordings available on catch-up services (iPlayer, ITVX, Peacock) typically within minutes of transmission. Formally managed with a defined publication window and quality check.

Sending programme feeds or individual stories to partner broadcasters and international news exchanges (Eurovision News Exchange, APTN, Reuters). Generates revenue and extends reach.

The primary delivery of the news programme via linear TV — satellite, terrestrial, cable, and IPTV distribution networks. Clean transmission must be confirmed and logged as the primary delivery gate.

Producing audio versions of bulletin content or dedicated news podcasts distributed via Apple Podcasts, Spotify, and RSS. A distinct distribution step with its own editorial and technical workflow.

All third-party material used in transmission — agency footage, UGC, music — is logged with clearance status and transmission details for regulatory and rights compliance. A mandatory post-transmission step.

Simultaneous live streaming on the programme's website, app, and third-party platforms (YouTube, social media) is a standard delivery requirement for all major news operations.

Cutting, captioning, and publishing individual story clips to social media platforms. Formally managed with defined turnaround times and platform-specific formatting requirements.

Balancing voice, sync sound, actuality, and music beds within the edit suite. The audio mix must meet broadcast loudness standards and be completed as part of the package edit before playout delivery.

For long-form news features, investigations, or specials, a structured sound post process applies — including dialogue editing, noise reduction, music placement, and M&E stem creation for international versioning.

Reporters record voiceovers for packages — either in the field or in the newsroom voiceover booth. Voice recording quality directly affects the broadcast standard of the finished package.

The editor and reporter review shot material and identify best clips and soundbites before assembly. The first editorial step in package production — must happen rapidly given the 30–90 minute turnaround.

Name straps, location identifiers, maps, and embedded data graphics are inserted into the package during the edit. Requires coordination between the editor and graphics operator.

The assembly and fine edit of the news package — soundbites, reporter voice, actuality, archive, and B-roll in sequence. Must be completed within tight transmission deadlines.

The Programme Editor or senior producer reviews the cut for editorial accuracy, legal compliance, and programme standards. A mandatory gate — no package transmitted without authorised editorial sign-off.

The package is verified against transmission specifications — levels, aspect ratio, timecode, loudness — before delivery to the playout server. A mandatory gate preventing transmission failures.

Broadcast news makes extensive use of on-screen graphics — maps, data visualisations, augmented reality elements, and full-screen infographics. For planned major events, these are built and tested in advance.

Scripts involving legal risk — contempt of court, defamation, injunctions, privacy — are reviewed by the editorial lawyer before transmission. A mandatory gate for sensitive material.

Third-party footage, user-generated content, and music used in packages require rights clearance before broadcast. The rights coordinator confirms clearance status for all third-party material.

Contingency planning identifies backup stories and alternative running orders in case planned stories fall through or breaking news intervenes — a standard operational requirement.

The graphics team is briefed on all required on-screen elements — name straps, maps, data visualisations, and full-screen graphics — before the programme goes to air.

Live guests, contributors, and interviewees are confirmed with final technical arrangements — in-studio, remote, or live location. A critical pre-production gate for live interview slots.

Reporters are assigned to specific stories with a clear editorial brief, angle, and key questions. Camera crews are matched to reporters and logistics arranged for efficient coverage.

The Programme Editor and Output Producer build the programme structure: story order, durations, live vs. recorded elements, and studio links. The running order is continuously revised throughout the day.

Satellite windows, IP contribution paths, and bureau feed times are confirmed and booked before the programme. Failure to secure connectivity results in dead air during transmission.

When a major event occurs, the operation rapidly redeploys crews, cancels planned stories, and switches to continuous live coverage. A distinct operational mode requiring a formally understood escalation procedure.

The Studio Director directs the live programme from the gallery — calling shots, cueing VTs, managing transitions, coordinating audio, and handling real-time changes. The most complex real-time operational environment in broadcast.

The Output Producer continuously reorders, adds, drops, and retimes stories as the news agenda shifts during the programme. The running order at transmission start is rarely the same as at transmission end.

Managing live guests joining via satellite, IP, or remote studio requires dedicated technical and editorial coordination — covering connectivity testing, editorial briefing, and real-time technical support.

Anchors present the programme live, conduct studio interviews, and narrate breaking developments. Requires coordinated support from autocue, floor management, graphics, and VT operations simultaneously.

Simultaneous production of web articles, social clips, and push notifications alongside the broadcast output. A core operational requirement for all major news organisations.

The compliance producer and transmission controller monitor live output in real time for regulatory compliance — operating the profanity delay where applicable and advising the gallery on legal risk.

The intake desk continuously receives, evaluates, and ingests footage from agencies, bureaux, UGC sources, and deployed crews. A 24/7 function on rolling news and the primary feed of raw material.

Reporters deliver live reports from location into the programme, directed from the gallery. Requires coordinated gallery direction, confirmed connectivity, and real-time communication.

Camera crews and reporters film interviews, pieces-to-camera, and actuality footage at story locations. This is the primary newsgathering activity and source of raw material for news packages.

User-generated content from social media and public sources is verified for provenance, accuracy, and rights before broadcast. A distinct editorial and technical step with significant compliance implications.

Archive all original field footage, audio, editorial projects, consent documentation, and delivery masters to long-term storage with appropriate metadata and access controls.

Securely store all consent forms, legal clearances, and ethics documentation in a manner compliant with applicable data protection and retention requirements.

Create and quality-control the final broadcast delivery master(s) to the technical specifications required by the commissioning broadcaster, meeting the February 2018 deadline.

Create Dutch and English subtitle files for broadcast delivery, including spotting, translation, and timing of all dialogue and on-screen text.

Develop the investigative treatment, define the central narrative questions around mercy killings in Soroti District, and identify key subjects and story threads.

Conduct an ethics review covering informed consent protocols, anonymisation options, legal exposure around filmed confessions, and duty-of-care obligations for vulnerable subjects.

Secure funding from Flanders Connect Continents – Journalismfund and De Coöperatie, and confirm any broadcaster pre-sales or co-production arrangements.

Cut a festival trailer and prepare a screener package for documentary festival submissions and international sales.

Compile a press kit including synopsis, director and journalist biographies, production stills, and technical specs for festival and sales use.

Edit and clean all dialogue and interview audio, applying noise reduction and synchronisation corrections to field-recorded material.

Perform the final audio mix combining dialogue, music, and ambience into a broadcast-ready master, including a separate Music & Effects track for localisation.

Compose or license music for the documentary, creating a cue sheet for all music used.

Grade the conformed picture to achieve visual consistency and appropriate tonal quality across all field-shot material.

Submit the fine cut to a legal advisor for review of the confession sequences, subject identifiability, and any potential legal risks before picture lock.

Ingest all AVC-Intra 100 HD footage into the editing system, create proxy files, and organise material by story thread (Gerald's journey, confessions, Rose, Alupo, poverty context).

Assemble and refine the documentary from assembly cut through to a locked fine cut, shaping the investigative narrative, pacing the confessions, and balancing the story threads.

Conform the locked edit at full resolution, assembling the final picture from original camera files based on the approved offline EDL.

Create opening titles, lower-third name/role identifiers, contextual maps of Uganda and Soroti District, and any required anonymisation graphics.

Prepare, test, and pack the AVC-Intra 100 HD camera package, field audio kit, lighting, and data backup equipment for the Uganda shoot.

Prepare informed consent documentation in English and relevant local languages for all interview subjects, including a specific protocol for the minor subject Alupo.

Brief journalist Gerald Bareebe and social worker Rose on the documentary's scope, their on-camera roles, and the ethical framework governing interviews and confessions.

Plan the Uganda field shoot: travel logistics, local fixer and translator engagement, accommodation in Soroti District, and a day-by-day shooting schedule.

Perform daily offload of all camera cards and audio recordings to at least two redundant field drives, with checksum verification after each transfer.

Maintain a daily production log recording shots captured, subjects filmed, consent obtained, and any notable field incidents or safety concerns.

Capture observational and journalistic footage of Gerald Bareebe's investigation in Soroti District, including travel, community interactions, and discovery sequences.

Film Alupo at the school for the blind, capturing her daily life, her singing, and her journey toward confidence and stability.

Capture social worker Rose's community outreach, her interview with Mary, and the sequence involving Karen's medical emergency and hospital visit.

Conduct and capture the on-camera confessions of mothers Akol and Apolot, and interviews with other struggling parents, ensuring signed consent is obtained before each session.

Annual LTO tape verification: tapes read and verified; degraded tapes refreshed. Format migration plan documented with industry-standard migration every 5–10 years. Retention schedule aligned with distribution agreement terms and rights windows. Key materials (camera originals, graded masters, final mix stems, DCP) retained in perpetuity.

Camera originals (RAW media) stored on LTO-8 or LTO-9 tape with minimum two geographically separated copies. Graded masters (DPX/TIFF sequences), sound post project files and stems, VFX project files, and editorial project files all archived. Cloud backup of key deliverables to studio cloud storage or third-party archive service (AWS Glacier, Sony PIX).

Production paperwork digitised and indexed: shooting scripts, call sheets, lined scripts, continuity reports, camera reports, sound reports. All clearances and rights documentation archived digitally. Asset database created cataloguing all deliverables with format, resolution, codec, location, and retention period. EIDR registration completed for the title and all versions.

DCP mastering facility produces SMPTE-compliant Digital Cinema Packages in flat (1.85:1) or scope (2.39:1) aspect ratio. Encryption applied and KDM management system configured for each cinema. Dolby Atmos and 5.1 audio tracks included. Ingest tests conducted at representative cinema before wide release.

Home video masters produced for Blu-ray and UHD Blu-ray. Bonus materials assembled: deleted scenes, featurettes, and director commentary. VOD platform masters delivered in SD, HD, and UHD versions per platform specifications.

IMF packages delivered to streaming platform partners per their respective specification sheets. Platform metadata delivered including title, synopsis, cast and crew credits, keyword taxonomy, and content advisories. Platform conducts its own technical QC; any notes resolved before release confirmation.

Subtitle files produced for all delivery territories (SDH for accessibility; standard subtitles for foreign language markets). Dubbed versions received from international partners and QC'd. Versioned masters produced per territory including rating cards, localised title cards, and dubbed audio.

All picture and audio masters subjected to automated QC (Cerify, Baton) and manual QC review. Subtitles and closed captions QC'd against approved scripts. Territory ratings certificates obtained (BBFC, MPAA, and all required territory classifications). Music, archive footage, and trademark clearances confirmed in final picture.

Attach the director and key above-the-line talent. Draft deal memos and letters of intent. Begin casting conversations for lead roles to strengthen the financing package.

Approach financiers, studios, distributors, and public film funds (BFI, Film4, BBC Film, Creative Scotland). Negotiate pre-sales at EFM, Cannes, or AFM. Assemble the full financing plan and close or substantially commit all funding sources.

Formal greenlight decision by financiers and/or studio. Confirm financing is closed, director and lead cast are contracted, completion bond terms are agreed in principle, and the production draft is locked or provisionally locked.

Develop the creative pitch package including lookbook, treatment, mood reel, and comparables analysis. Prepare a top-down budget parametric for initial financing conversations.

Acquire the option on a novel, life rights, spec script, or commission an original screenplay. Conduct chain of title analysis to confirm rights are clear before development investment begins.

Commission and iteratively develop the screenplay through multiple drafts with the screenwriter and script editor. Incorporate director and producer notes across development rounds.

EPK producer assembles the electronic press kit from behind-the-scenes footage and on-set interviews captured during production. Produce 3–5 minute overview piece, individual featurettes, and talent interview segments. Deliver to distribution partners for press and broadcast use.

Unit photographer delivers selects from principal photography. Key art shoot conducted with principal cast post-wrap. Graphic designer produces theatrical one-sheet and all derivative formats for social media, digital display, and billboard use.

Press junket conducted with director and principal cast 4–6 weeks before release. Festival strategy confirmed and submissions made (Sundance, Cannes, TIFF, BFI LFF, Venice as appropriate). Critic screening programme managed with embargo dates agreed with distributor. Broadcast interviews and podcast appearances scheduled.

Specialist trailer house or in-house team produces teaser trailer (released 6–12 months before release) and main theatrical trailer (released 3–6 months before release). International trailer variants produced for territory sensitivities. Short-form and vertical format edits produced for social platforms. Director and distributor approval obtained.

Dialogue editor reviews and selects best production audio takes. Cleans dialogue using iZotope RX or similar. Prepares ADR cue list. Books and conducts ADR sessions with actors in specialist studio. Conforms dialogue cut to picture lock.

Re-recording mixers balance all stems — dialogue, ADR, atmospheres, effects, sound design, and music — across Dolby Atmos, 7.1, 5.1, and stereo formats on a certified mix stage. Director attends and approves final balance. M&E mix produced for international versioning.

Composer records original score to picture on scoring stage or with ensemble. Music editor cuts score to picture. Music supervisor clears all licensed tracks and executes sync licence agreements. Music stems delivered to re-recording mixer.

Supervising sound editor and sound designer develop the sonic concept with the director. Build atmosphere layers, hard effects, and stylised sound design elements. Foley artist records footsteps, cloth, and prop sounds in specialist foley studio.

Editor assembles all scenes from dailies into an assembly cut. Director works with editor through director's cut and fine cut passes. Test screenings conducted with audience response cards. Producer and key stakeholders give notes. Picture lock agreed — no further editorial changes after this point.

Online editor builds the final conform in Baselight, DaVinci Resolve, or Flame at full resolution. VFX finals, titles, and on-screen graphics integrated. Conform verified against the locked cut before colour grading commences.

Colourist produces the HDR primary grade (HDR10 or Dolby Vision) with DOP and director in attendance. SDR trim pass derived for broadcast, streaming, and theatrical SDR use. IMF packages produced for major streaming platform delivery. Textless sequences generated for localisation.

VFX shots formally broken down and assigned to vendors. Brief documents issued per shot/sequence. Vendors produce grey CG, initial composites, and subsequent rounds addressing notes from director, DOP, and VFX supervisor via review platform (ShotGrid, CineSync, Frame.io). Shots approved to 'final' status and delivered as high-resolution DPX or QuickTime sequences.

DOP selects camera system, lens package, and lighting package in consultation with the gaffer and key grip. Conduct camera and lens tests. DIT establishes the on-set colour pipeline and dailies workflow. Confirm equipment rental agreements.

Costume designer develops and presents costume designs for director approval. Fittings conducted with principal cast. Hair and makeup designer develops all looks. Prosthetics designer creates specialist makeups. All designs approved before shoot commencement.

Location manager and scouts identify and photograph all candidate locations. Director, DOP, production designer, and 1st AD conduct recces. Negotiate and sign location agreements. Obtain all required permits including road closures, police liaison, and heritage site access.

Production designer develops final set designs with art director and concept artists. Director approves designs. Construction manager commences set builds on studio stages. Scenic artists complete painted finishes. Props master sources and acquires all required props.

Engage stunt co-ordinator and SFX supervisor. Plan all stunt and practical effects sequences. Conduct safety rehearsals. Prepare risk assessments and safety plans. Notify relevant authorities (fire brigade, local authority) for pyrotechnic or hazardous sequences.

VFX supervisor and previs supervisor break down all VFX sequences. Produce previs for complex sequences and techvis for practical requirements. Engage VFX vendors. Establish on-set VFX data capture protocols (HDRI, reference photography, witness cameras).

Casting director leads the casting process for all roles. Conduct auditions and screen tests. Director approves all principal and supporting cast. Negotiate and execute contracts with agents. Confirm cast availability against the shooting schedule.

Line producer prepares the detailed below-the-line budget. Agree cost plan with financiers. Identify and ring-fence contingency (typically 5–10%). Submit documentation to completion bond company and obtain bond issuance.

Place all required insurance: production insurance, errors and omissions (E&O), cast insurance, and key man clauses for above-the-line talent. Confirm coverage with completion bond company.

Open the production office. Engage and contract all key heads of department (1st AD, Line Producer, UPM, Production Designer, DOP, Costume Designer, etc.). Establish production management systems and communication protocols.

1st AD conducts scene-by-scene script breakdown. Produce the one-liner and full shooting schedule including day-out-of-days for all cast and departments. Confirm studio stage bookings and location windows against the schedule.

2nd AD produces and distributes the daily call sheet by the previous evening. Call sheet details shooting order, cast calls, crew calls, location, unit base logistics, and any special requirements (stunts, SFX, VFX supervisor attendance).

DIT offloads and verifies all camera media at end of each shooting day. Minimum three copies made: on-set, near-line, and off-site. Colour-managed dailies generated and delivered to editor and director for same-day or next-morning review.

VFX supervisor attends all sequences with VFX requirements. Supervises HDRI captures, reference photography, witness camera recording, and any lidar or photogrammetry scanning. Confirms all required data is captured and logged before company moves.

Director, DOP, and 1st AD agree shooting order each day. Cast rehearse on set. Gaffer and key grip execute lighting and camera support setups. Director calls action; scenes are performed and captured across master shots, coverage, and alternate angles. Script supervisor maintains lined script and continuity records.

Production accountant issues weekly cost report against the approved budget. Line producer reviews hot costs and identifies any variance. Completion bond representative monitors reports. 1st AD issues revised schedule if days are running over or ahead.

Second unit director and crew shoot additional photography in parallel with main unit: inserts, pickups, establishing shots, and action or stunt sequences as delegated. Second unit dailies delivered to editor alongside main unit material.

Unit photographer works on agreed shoot days capturing production stills. EPK producer and crew shoot behind-the-scenes footage and on-set interviews with director, cast, and department heads on pre-agreed access days co-ordinated with the 1st AD.

Select and confirm archive storage medium (LTO-8/9 and/or cloud). Assign retention periods per asset category based on rights agreements. Document and formally sign off the access and retrieval protocol with the production company and broadcaster.

Inventory and verify all camera original media against camera reports. Cross-check file checksums generated at original ingest against archive copies. Flag and investigate any discrepancies before archive is confirmed.

Archive full editorial project files (Avid/Premiere/Resolve), VFX vendor project files and renders, and audio DAW sessions (Pro Tools) with all references intact. Include README documents describing software versions and project structure.

Consolidate all final deliverable masters — picture, sound, all versions, all territories — into a single defined archive location. Apply agreed naming conventions and accompany each file with a technical specification sheet.

Consolidate and file all legal and rights documentation — contracts, clearance letters, music licences, talent agreements, location agreements, and co-production agreements — in a structured document management system. Scan all physical originals.

Tag all archived assets with structured metadata (series title, episode number, production company, broadcaster, format, rights territory, rights expiry, unique asset identifier). Register catalogue entries in the production company's and broadcaster's asset management systems.

Compile and archive all chain-of-title documents, rights agreements, talent contracts, music licences, and location releases into a structured rights archive accessible for future distribution, co-production, and re-versioning purposes.

Produce audio description for all episodes to Ofcom requirements. Record AD narrator against picture, mix as a separate audio track, and deliver as a discrete file or within the programme master.

Review and map all platform and broadcaster delivery specifications. Confirm codec, wrapper, frame rate, audio configuration, HDR requirements, and metadata schema for each platform. Establish the delivery schedule per episode.

Coordinate dubbed version production for all required languages using M&E stems as the audio foundation. Manage dubbing studios, QC dubbed audio for sync and technical compliance, and deliver completed versions.

Mix, master, and technically QC the French-Canadian dubbed audio track for all six episodes, ensuring compliance with Canadian broadcaster loudness and technical delivery specifications.

Deliver broadcast playout masters and platform-encoded files for each episode. Upload to platform delivery portals, manage ingest checks, remediate any rejections, and obtain written technical acceptance from each platform and broadcaster.

Conduct a full rights clearance audit before delivery begins. Confirm all performance rights, music sync and master licences, underlying literary rights, and clip licences in writing for all territories and platforms in the delivery schedule.

Produce SDH subtitles to Ofcom guidelines for UK broadcast. Coordinate foreign language subtitle production for all required territories. QC all subtitle files for timing, formatting, and compliance. Deliver in TTML, SRT, STL, or WebVTT as specified.

Secure development funding from a broadcaster, streamer, or development fund to support script development, series bible work, and talent attachment.

Conduct initial financial modelling including provisional budget ranges, co-production or gap financing options, HETV tax relief eligibility assessment, and identification of international co-production partners.

Prepare and present the formal greenlight pitch. Secure written series commission from the broadcaster or streamer, confirming rights chain, budget range, and creative parameters.

Identify and attach the series director and lead cast to the project. Negotiate attachment terms and secure letters of intent for the greenlight pitch.

Identify, negotiate, and contract the lead writer or showrunner. Establish episodic fee structure and creative responsibilities across the series run.

Identify and option underlying source material where applicable. Instruct legal counsel to establish chain of title and confirm rights availability for the proposed series.

Commission and develop pilot script or full series scripts through multiple draft cycles with the commissioner's development executive. Manage version control and notes rounds.

Develop the full series bible including character outlines, serialised story arcs, world-building documents, tonal references, and a pitch deck for commissioner presentations.

Originate the series concept — whether from an original idea, adaptation, or format — and develop an initial pitch document and deck for commissioner or development executive presentation.

Prepare and submit CAVCO certification application and CMF documentation. Track Canadian content points across all key creative positions and maintain expenditure records to support provincial and federal tax credit claims.

Identify, negotiate, and contract sync licences for all pre-existing music tracks required across all six episodes, including the series-opening 'Nowhere to Run' needle-drop and any other source music referenced in the scripts. Engage a music clearance specialist to liaise with publishers and labels and secure master and sync rights within the production budget.

Commission a script clearance review across all six episodes to identify and clear real-world references, brand names, song titles, and any potentially defamatory content. Obtain Errors & Omissions insurance as required by broadcasters and distributors.

Schedule and execute the EPK shoot during principal photography. Capture on-camera interviews with cast and key creatives, behind-the-scenes footage, and unit stills. Edit long-form and broadcast-ready segment versions.

Organise key art stills shoot with key cast. Develop key art to approved creative brief. Lock title treatment. Produce key art in all required sizes and formats. Manage approval chain through talent representatives, production company, and broadcaster.

Produce and deliver all broadcaster and platform-specified marketing deliverables. Create social media asset suite for all platforms. Brief digital agency and launch campaign co-ordinated with broadcast or platform premiere.

Organise press screenings with agreed embargo dates. Manage press junket logistics for talent and key creatives. Confirm all talent promotional obligations in writing with agents and schedule appearances.

Plan and execute a social media and digital marketing campaign for the series across relevant platforms, including character-focused clip releases, behind-the-scenes content, and platform-specific promotional assets timed to the broadcast or streaming release schedule.

Cut teaser trailer (60–90 seconds) from early rushes and full narrative trailer (2–3 minutes) once sufficient post material is available. Secure broadcaster, production company, and talent approval. Deliver in all required formats and aspect ratios.

Conduct ADR recording sessions for all six episodes to replace or supplement location dialogue where required, particularly for outdoor lake, quarry, and street scenes. Edit and assemble all production dialogue and ADR recordings into clean dialogue tracks ready for the final audio mix.

Schedule and record ADR sessions for all required scenes. Record walla and group ADR separately. Edit and integrate all replacement dialogue into the dialogue track.

Edit all production dialogue tracks frame by frame. Select cleanest takes, remove noise and handling, match room tone and mic placement continuity across scenes.

Perform the final mix of all audio elements — dialogue, ADR, Foley, effects, score, and source music — against picture. Deliver 5.1 broadcast master, stereo fold-down, Dolby Atmos mix (where required), DME stems, and M&E stems per episode.

Record Foley in passes (feet, cloth, props) against picture in a specialist Foley stage. Edit for sync and level. Deliver as a discrete stem for the premix.

Clear all pre-existing music for synchronisation and master rights across all required territories and platforms. Maintain a clearance register updated throughout post. Confirm all clearances in writing before mix.

Conduct music spotting session against picture lock. Identify all score and source music cues by timecode, emotional function, and instrumentation. Generate spotting notes as the brief for composer and music supervisor.

Engage a composer, conduct spotting sessions for all six episodes, and oversee delivery of original score stems. The score must support the series' dual tonal register — ensemble warmth and slow-burn menace — and integrate with the sound design and licensed music elements.

Premix dialogue, effects, and music stems individually to consolidate tracks, balance relative levels, and resolve technical issues within each stem before the final mix.

Compose and record original score to picture. Deliver stems and individual instrument tracks alongside the final mixed score at the required sample rate and bit depth.

Perform full HDR (HDR10 and Dolby Vision) and SDR colour grade of all episodes in a calibrated DaVinci Resolve suite. Work to the DoP's and director's creative brief. Deliver both HDR and SDR masters per episode.

Perform the high-resolution online conform for each episode, integrating VFX deliveries, graphics, and titles into the final conformed sequence at full 4K resolution.

Conduct full technical QC of all picture and sound deliverables per episode. Check video signal levels, loudness compliance (EBU R128), lip sync, subtitle timing, and metadata accuracy. Issue QC certificates on pass.