Brad Carpenter is an Emmy nominated producer who for over fifteen years has built a stalwart reputation as one of television’s most sought after and effective producers specializing in post-production. Brad has overseen a slew of massively successful series including HBO behemoths BOARDWALK EMPIRE and SEX AND THE CITY, Showtime’s hit NURSE JACKIE, USA Network’s critically acclaimed THE SINNER, FX’s Emmy-winning FOSSE/VERDON and most recently LITTLE VOICE for Apple TV with executive producers J.J. Abrams and Sara Bareilles. Brad continues to produce upcoming TV shows, including the new TV fantasy drama INK MAN, currently in development. Few producers out there are as practiced and knowledgeable about the intricacies of TV post-production as Brad, and as a long-time member of Stage 32’s community, he’s thrilled to share what he knows. Full Bio »
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Whether you’re a writer, an actor, a cinematographer, an editor, sound designer, a colorist, a VFX artist or an animator, every project you work on is going to have to pass through post production on the way to fulfilling its creative promise. Post-production is an intricate, sometimes lengthy and always critical process necessary to turn a bunch of shots, moments, and ideas into a singular and polished product. This is no easy task, and doing it well can lead to strong and ongoing career as a post producer. And if you’re a filmmaker or creator in your own right, peeling back some of the mystery of post can help inform your own art and allow you to better create.
Despite how vital post-production is to any project, it’s often enigmatic and not fully understood. When most people think of production, they only think of a film set and are less able to visualize what comes after the film set is over. The concept of a dark room where so many decisions are made that determine a show’s eventual success is foreign to most. A successful Post Production process requires an elaborate choreographed dance between creativity, technology, time and money. Understanding what that Post Production process entails, and how your skills can best fit into it, is critical towards making whatever you do creatively more successful in the end.
Let’s explore how post production works in scripted episodic TV, one of the most prolific art forms in today’s broadening media landscape.
Brad Carpenter is an Emmy nominated producer who for over fifteen years has built a stalwart reputation as one of television’s most sought after and effective producers specializing in post-production. Brad has overseen a slew of massively successful series including HBO behemoths BOARDWALK EMPIRE and SEX AND THE CITY, Showtime’s hit NURSE JACKIE, USA Network’s critically acclaimed THE SINNER, FX’s Emmy-winning FOSSE/VERDON and most recently LITTLE VOICE for Apple TV with executive producers J.J. Abrams and Sara Bareilles. Brad continues to produce upcoming TV shows, including the new TV fantasy drama INK MAN, currently in development.
Few producers out there are as practiced and knowledgeable about the intricacies of TV post-production as Brad, and as a long-time member of Stage 32’s community, he’s thrilled to share what he knows. Brad will leave no stone unturned in this all-encompassing rundown of TV post-production, so expect to leave with a full picture of how this field works and how best you can approach it yourself.
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Mentoring in a private class setting with top financier Viviana Zarragoitia, VP of Three Point Capital - exclusively through Stage 32! Get access to exclusive handouts including sample budgets, packages and collection account management statement, sales sheets, sales agent contracts and distribution agreements One of the biggest challenges you’ll face as a creative is finding financiers and raising funds for your film. You may have a great script, a great cast and crew, but at the end of the day no money means no project. Yet you don’t need 10 million dollars to get your film off the ground. With the right strategies and approach you can successfully finance a film for $3MM or less. Sometimes MUCH less, as microbudget films and films financed for under $500,000 continue to find success and still allow financiers to recoup their investments. This is all within your grasp, but first you must understand the ins and outs of what goes into financing a film for less than $3 million so you can ultimately find success. Knowing how to raise money intelligently for films and projects with budgets under $3MM can be your calling card toward making a life working in independent film. Simply put, if you understand the strategies and methods to help your investors see a return, you get to keep those investors time and time again. And those investors can, and usually do, bring more investors with them if they're happy. While everyone says that raising financing is the hardest aspect of filmmaking, it's not impossible, and in fact can be well within your grasp, especially with the right guidance and education. Viviana Zarragoitia is the Vice President of Three Point Capital, one of the entertainment industry's top financiers that specializes in senior lending on film and television projects. Through Three Point, Viviana closes the financing on every film that the company is involved in. She has been involved in the financing of over 100 independent films, and worked with such producers as Cassian Elwes (DALLAS BUYERS CLUB), Rob Barnum (MARGIN CALL), Anthony Bregman (ETERNAL SUNSHINE OF THE SPOTLESS MIND), James Schamus (BROKEBACK MOUNTAIN), Aaron Gilbert (JOKER), Kimberly Steward (MANCHESTER BY THE SEA), Nicolas Chartier (THE HURT LOCKER) and Kevin Frakes (HEREDITARY), among others. Before Three Point Capital, Viviana worked in accounting at Millennium Films and Bold Films, as well as in the finance division of Lionsgate, where she oversaw the preparation of multi-million dollar film and television distribution deals. Viviana has seen it all when it comes to film financing and knows intimately well how films find success at all budget levels. In this advanced level and intensive 4-session class, Viviana will comprehensively teach you how you can finance your own film for $3MM or less. In Session 1 she will provide an overview of the different types of film financing available to you. In Session 2 she will focus on microbudget films specifically and dig in to how films with these budgets can find success. Session 3 will delve into equity, pre-sales, gap, and sales agents. Finally Session 4 will look at waterfalls, recoupment and navigating collection accounts. Along the way, Viviana will provide exclusive and valuable handouts that you can take with you for your own projects, including: Sample Budgets and Packages Sales Sheets Sales Agent Contracts Sample Collection Account Statement Example Distribution Agreements Praise for Viviana's Past Stage 32 Financing Classes: "Viviana inspired me to learn more about the business side of filmmaking. I had an idea of how to finance a movie, but after our first class, I realized I had a lot to learn. I'm learning more to this day! I highly recommend her class to any film creative with little, to no understanding on how to finance an independent film. What she has to say is priceless!" -Steven K. "As an experienced film and television producer and writer, Viviana's class was just the refresher - and inspiration - that I needed! Having been a completion producer for a bond company, I have seen too many producers who were let down in the producing process by so-called-professionals who offered support at the on-set of a production, but then failed to deliver when needed. Viviana and her company Three Point Capital have an excellent reputation, and her counsel provided in the class solidified that. I highly recommend both Viviana and Stage 32 Education!" -Patricia C. "Viviana was personable, professional, interesting, interested, and a wealth of knowledge and useful information. I will take every opportunity to learn from her. She was patient and polite with every question and always clear with what she knew, what she thought, what she believed, and what she didn't know. She painted pictures and delivered facts, outlining the paths she has seen successful producers take while still encouraging all to pursue their art with a greater knowledge of the business and understanding of the challenges and potential pitfalls." -Randy G. "As someone who was totally new to the world of film financing, trying to learn about the process by myself was intimidating to put it lightly. Viviana clearly explains the film financing process step-by-step and demystifies the complex, bespoke nature of pre-sales, tax credits, sales agents, and so much more. I feel infinitely more confident in my ability to produce a film thanks to this class. I give it the highest possible recommendation for any independent filmmaker looking to finance their film and take their projects to the next level." -Sean R. "Viviana has a tremendous depth and range of knowledge about film financing and she was happy to share everything she knew. Thanks to her loose, attentive style for the class, it ranged far and wide, and she answered a lot of people’s questions whether they were general or specific to their own projects. And I feel like there was value for all of us in even the most project-specific questions." -Randy V.
One of the biggest challenges you’ll face as an actor or actress is learning lines for auditions, or even when you get onto set. It can be a real challenge to be among the few who are able to do so quickly. It can be the make or break for a booking, callback or avail. Luckily there are some techniques you can use to make memorizing easier and less daunting to you. The key to doing this is simple: you must be memorized once you are on set, and it looks way better if you’re also memorized when you’re doing the initial audition. It looks more professional and people with for sure connect to the fact that you have done the work. Although you don’t have to be memorized 100 percent with the EXACT words on the page, its important to know the story, and the general idea of the script when auditioning for a project. When on set you’ll have to know it word for word. I think many actors struggle with memorization due to time constraints, issues with vocabulary, long scripts, and just the general idea that it’s not that simple. However, do not let that stop you! We have amazing techniques to help you remember that script. Rachel Paulson has grown up in a family of Hollywood royalty. She and her sisters, Emmy-winner Sarah Paulson (AMERICAN CRIME STORY, OCEAN'S 8) and Liz Paulson (SVP of Casting for FOX) have worked together for decades to learn every aspect of the entertainment with much success. Rachel is the star of the series "DATING ZOE", the host of the video series Drink Responsibly with Rachel Paulson, and the co-host of the podcast Gay vs. Straight Bitches with One Tree Hill alum, Lindsey McKeon. She stars as the lead "Kate" in the LGBTQ drama film GOOD KISSER on Hulu. Rachel currently has a YA television series in development based on a true story, with Sarah Paulson attached to produce. Rachel specializes in Comedy and Drama Features and Television. Rachel will teach you a new way to think about memorizing lines and techniques and ideas that you can start using today to get off book (or off book enough) in no time. She will walk you through common misconceptions you may have about memorization (do you REALLY need to be 100% off book?) and share multiple approaches she's developed to help her get her lines down more quickly. Rachel will even go deeper by showing how these techniques and the art of memorization can be used to make the script your own. By the end of this webinar, you’ll walk away with more confidence to nail your next audition and your performance on set.
It seems like every day another film festival launches or expands. Specialty festivals are becoming all the rage and major, established festivals have been expanding to accept shorts, digital shorts, documentaries, television pilots, specialty genre content and content focused on diversity. With the market growing, so are the number of submissions to any given festival, especially those which are producing results for the connections of the accepted films. You want to make sure your screenplay is on point, that the story is a fit for the style of the festival you are entering and that the film grabs a judge's attention from the get go. Part of assuring you have a festival darling film is understanding the festival landscape, knowing the right players and making connections that assure your film is being viewed by the decision makers. But this all starts, as it always does, with the script. A majority of screenwriters do not write big budget tentpole blockbusters. They tell more intimate, character driven stories. And these are the kind of stories that most festivals adore. But why do some of these scripts attract financing, producers, and, ultimately, the attention of festival directors while others fall through the cracks? As a writer and/or producer, how can you identify the aspects of your screenplay that might be killing your chances of festival success and fix them before filming begins? And how can filmmakers and producers assure, even if they have a winning film based on a fantastic script in place, that they are entering the right festivals and navigating the circuit correctly? There is a chemistry to all of it. A mixture of the creative and the business side of things. It's imperative that you have an understanding of both. Maren Olson has represented domestic and/or worldwide distribution rights to over 70 finished films, including Academy Award winner The Secret in Their Eyes, festival favorites such as An Oversimplification of Her Beauty, Natural Selection and Red Flag, and Sundance Audience Award winners This is Martin Bonner, Valley of Saints and Kinyarwanda. As a producer, she was responsible for critically lauded Short Term 12, which premiered at the 2013 SXSW Film Festival, where it won both the Grand Jury and Audience Awards. The film went on to win 19 other awards including the Gotham Award for Best Actress and Independent Spirit Award for Best Editing. Maren currently works in the film finance division of CAA, and was formerly the President of Traction Media, where she was responsible for the creative development, packaging, production, financing and sale of independent films. To say she understands all the ins and outs of the festival circuit, what festivals look for and how they operate would be a massive understatement. Maren will teach you what kind of independent film project goes on to become a “Festival Darling” and what you can do to better position your independent film for festival success, from script to screen. She will deconstruct both the writing stage- from the major components of a festival-friendly story idea, to what to consider regarding location and characters, all the way to how to incorporate thinking about the budget when writing your script- as well as the production stage – from how to make sure your film gets properly considered by the right people, to which festivals you should submit to and when, all the way to the common ways festival friendly scripts turn into a film that no festival wants to play. She will teach you the 3 components of a festival-friendly story idea and why you must answer yes to each. She will talk budget, shooting locations and when the proper time is to bring on a producer. She will explain the mistakes people make and demystify the myths people believe when navigating the festival circuit. She will go over common pitfalls screenwriters, filmmakers and producers make that can be fatal when submitting to festivals. Maren will give you the tools to get traction on your project. She will lay out, in clear, precise terms, how to assure your project is given the best opportunity to become a "Festival Darling." "Excellent - informative. Maren brought facts and experience to a very nuanced subject about "Film Festival Darlings - offering an extremely in-depth analysis to the elements of what a writer or producer should consider when moving forward in the Indie film world. My fav Stage 32 webinar so far. Thanks." - Robert G. "Fantastic seminar. Like a good filmmaker, you kept us engaged from opening to close. Thanks again!" - Bob B. "Maren had a lot of practical information and road trap warning for indies. I appreciated the components of a festival face, comps, and specific advice that is useful." - Betty S.
**Only 15 Spots Available-3 Spots Remain** Work one on one with a director and producer of animated shows on Netflix, FOX, Disney and more as he helps you prepare and develop your own animated TV pilot. Animated television is currently experiencing a boom like we’ve never seen before. Since it’s possible for the bulk of the work to be completed from home or while socially distanced, animation has been flourishing as more players are turning to this format. New shows like SOLAR OPPOSITES on Hulu, CLOSE ENOUGH on HBO Max, FINAL SPACE on TBS and BLOOD OF ZEUS on Netflix are hugely popular, and this is just the beginning. Scores of upcoming animated shows are in the pipeline and just around the corner. Considering this appetite, it doesn’t look like this trend is fading any time soon. And more interest in animation means there are more opportunities for your own project to get noticed and get picked up. The opportunities may be extra plentiful right now, but you still need to have a dynamite show to present if you want to be noticed. This means a great concept, a fantastic pitch deck, and a knockout pilot script. And all of these elements don’t need to just be good; they all need to lend themselves to the format and industry that is animated TV. But if you can ace all of these elements, you may have just found your way in and the piece of material that will fire you off the launch pad. Let us give you the guidance to make your animated pilot as good as it can be and help you springboard your writing career. Mike Disa is an accomplished director, producer, writer, and artist who directed on shows like the hit Netflix series PARADISE PD and has been in the animation industry for over twenty-five years. Mike found success working with studios such as Dreamworks, Disney, Warner Bros., Paramount, and many others. Over a fascinating career, Mike has worked with some of the greatest and most infamous people in Hollywood including Steven Spielberg, Eric Goldberg, Ralph Bakshi, Glenn Close, Steve Oedekerk, David Tennant, Amy Poehler, Adam Sandler, Jeffery Katzenberg and Roy Disney. A favorite and fixture among the Stage 32 community, Mike is deeply entrenched in the world of animated TV and knows better than most what it takes to get an animated show off the ground. In this lab, you will be working directly with Mike in a virtual class setting and also during one-on-one online sessions to hone your concept and build your pilot outline and pitch deck for a fantastic, market-ready animated pilot. Whether you are interested in creating a “prime time” adult comedy series, action, dramedy, or children’s animation, Mike is here to help you. He will guide you through creating engaging characters, building your world, perfecting your structure, constructing an outline and building your bible or pitch deck to sell your show. If you already have a concept, or even a completed pilot, Mike will use the same tools to help you hone and sharpen your material. Throughout the course of this exclusive online lab, you will have direct access to Mike as a mentor by email and via video conferencing as you develop your animated series. Students who sign up for this lab with Mike will be eligible to participate in a Level 2 Lab where Mike will continue to mentor you in writing your pilot!
You’ve heard the phrase “the content gold rush” get bandied about much these days, but as it relates to TV, it’s never been more true. Drama television is at it's peak with such iconic shows like OZARK, KILLING EVE, BETTER CALL SAUL, THIS IS US, THE HANDMAID'S TALE, MR. ROBOT, STRANGER THINGS, BLACK MIRROR, BIG LITTLE LIES and so much more. With the influx of networks and streaming platforms either moving into or expanding their original content libraries, the demand for dramatic TV ideas and pilots has never been greater. Thanks to streamers such as Netflix, Amazon Prime, Hulu, Disney+, HBO Max and others, over 600 shows were greenlit last year and some industry experts are predicting we may see as many as 1,000 television shows greenlit per year by 2025. But not only is the quantity increasing, so is the quality, as companies are funneling an unprecedented amount of money, resources, marketing and talent into their shows. And the impact of COVID-19 is even having an impact that could benefit writers all over the world as many shows are planning to implement virtual writer’s rooms. In short, there has never been a better time to write for TV. Now it’s just a matter of breaking in. The opportunities are plentiful and the prospects have never been more exciting, but if you want to write dramatic television you need to prove that you have the chops, and to do that, you better come armed with a great pilot script sample. Something that shows that you have what it takes; something that shows that you understand the structure and craft that goes into a good teleplay; and something that shows off your own unique voice and sensibility. This is your calling card, your way in, the piece of material that will fire you off the launch pad. The intention of this lab is to help you create that piece of material that stands out, gets you the right meetings, and, ultimately, gets you representation, meetings with decision-makers, and/or a coveted seat in a writer’s room. Spencer Robinson is a literary and talent manager at Art/Work Entertainment who's been in the industry for over twenty years. His clients have been in films with directors Quentin Tarantino, Steven Soderbergh, Clint Eastwood, Gore Verbinski and more. In the TV world, his clients have been regular cast members on shows for Netflix, The CW, Cinemax, CBS, NBC, FX, Starz, Nickelodeon, EPIX, and TBS, to name a few. His writing clients work in both features and television on broadcast, cable, and streaming platforms. He currently has a client writing on two Netflix series, and another client who just sold a show to Amazon. He also reps a writer who currently has a project at Aggregate Films, which has a deal at Netflix. Spencer has taught numerous webinars, classes and writing labs for Stage 32 and remains one of our most popular and in demand educators. In this lab, he will be working directly with you in a class setting and also during one-on-one sessions with the goal of helping you write a fantastic, market-ready pilot. To do so, Spencer will guide you through picking a concept, creating engaging characters, perfecting your structure, constructing an outline and, finally, writing your pilot. If you already have a concept or even a completed pilot, Spencer will use the same tools to help you hone and sharpen your material. WHAT TO EXPECT By the end of this 8-week writing lab, you will have a completed drama television pilot script ready to be shown to reps, development execs and other executives and professionals. Sessions will vary between 2-hour group settings and personal one-on-one Skype meetings with Spencer. You will be held accountable to take the lessons from each week and move your work forward. Plus, to keep you motivated and inspired, you will have access to a private, dedicated Stage 32 Lounge where you can communicate with your fellow classmates throughout the writing process. To see the full writing lab schedule, see below under "What You Will Learn". PLEASE NOTE: This exclusive Stage 32 lab is limited to 10 writers and will be booked on a first come, first served basis. The opportunity to work this closely and for this long with an executive and an expert in the field is an incredibly unique and valuable opportunity. If you are interested, please do book quickly. Once the spots are gone, they’re gone for good. Payment plans are available - please contact Amanda at email@example.com for more information This lab is limited to 10 people ***only 1 spot remains*** This lab is designed for beginner and intermediate screenwriters looking to build a pilot from scratch or expand on an existing idea or polish an existing pilot. Praise from Spencer's previous Stage 32 webinars: "Spencer will get those who are ready on their way to a kickass first draft that you can send for coverage, which is what I did. 2 Considers and I'm in rewrites now to move that needle. This was my first ever TV pilot!" - Erika N. "Spencer was amazing!" - Summer K. "Enjoyed the class. Spencer was a good teacher and I appreciated his insight!" - Stephen C. "Had a great time learning and progressing my knowledge of the craft of writing and working directly with a mentor who is a professional in the industry. Spencer was fantastic to be taught by! Thank you!" - Natalie A. "Spencer's teaching style is the best! His patience and easygoing approach is ideal and unique to him. Kudos to Stage 32 and to Spencer!" - Armando O.
“How can I make it in the movie business?” This is the perpetual question that haunts every generation of budding filmmakers. There are so many success stories that start with humble beginnings, and then there are so many more stories that don’t make it as far. If you want to “make it” in the movie business, you have to know how to get a job in it first. But how? First, there are SO MANY more jobs in this industry than most people realize. Do you know all the many ways to be part of the film industry? Not to mention, it takes a lot of grit to make it in this biz. Most people pay their dues through grueling hours as an assistant with little pay. With the right guidance from someone who has been there and done that, you’ll be able to set yourself up for success for any job in the industry. You just have to know how to get your foot in the door. Matt Harry is a novelist, screenwriter, and filmmaker whose popular fantasy novel SORCERY FOR BEGINNERS was recently optioned for television by Boatrocker Media with Matt on board to adapt the pilot. His first produced feature screenplay, FUGUE, landed on several top-ten lists, won Best Horror Film at the Mississippi Film Festival, and was picked up for distribution by GoDigital. Matt has also written screenplays for Primary Wave, Platform One Media, Co-op Entertainment, and Flynn Picture Co. His short film SUPER KIDS, which he wrote and co-directed, has over 6 million views on YouTube. Now, inspired by his new interactive book “You Are A Filmmaker,” Matt is bringing his knowledge and experience to Stage 32 so that anyone looking for an entry-level job in the biz can get one. Matt is going to tell you exactly how to get any job in the film business, starting with the 10 Do’s for ANY job and the 5 Don’ts. He’ll go over how to get a job in development, production, the camera department, post-production, post sound, the art department, as a writer, and even a director. He’ll also answer questions like, “do you need to live in Los Angeles,” and provide tips on how to afford to work in the industry, because let’s face it…when you’re starting out this biz is far from the glamorous life. But don’t worry, with Matt’s insightful tips and experiences, you’ll walk out of this ready to snag any job in the industry. Praise for Matt's Previous Stage 32 Webinar "Chockful of examples and able to keep a running theme throughout and not lose the audience. Great enthusiastic speaker." -John S. "Overall it was very informative. The fact that there was an actual tried and true professional of the industry willing and able to answer questions and give the talk was a very huge plus for me." -Jaboris B. "Matt has such a way with words. He articulates concepts exceptionally well." -Karthi M. "Matt was very engaging. His in-depth knowledge of the subject matter was crystal clear." -Tia P.