I'm creating a quote to work on the sound postproduction for a series for Netflix. This is a Drama/Thriller 14 episode series, 45 mins each, with very few to none short action scenes, and I was wondering if anyone here would be able to share his/her experience? I've already worked on a couple of series as a sound designer, but in this case I'll be the Sound Supervisor and I'm trying to design a decent workflow, understanding how much time each area needs, etc...
I can share what I've got for the moment, which can be useful to some, and if anyone wants to comment please feel free to do so.
For the moment the team consists in:
- 1 Supervising Sound Editor
- 1 DX Editor
- 1 ADR Recordist/Editor
- 1 Foley Artist
- 1 Foley Recordist/Editor
- 2 SFX Editors
- 1 Re-recording Mixer
I'm thinking the Dialogue Editor could edit one 45" episode in 5 days, Foley could be done in 4, SFX in 5 days, and the mix in 5 days. Does that make any sense? ADR is a huge variable because we depend on the actors' availability, so I'm not taking that into account just yet. I'm adding 3-5 days of pre-mixing/sound design, so the timetable is looking more or less like this:
Each Episode will be done in 3 Weeks:
DX, FLY, SFX
Corrections, Sound Design, Pre-Mix
Final Mix (5.1) and Deliveries (5.1 and Stereo Downmix for Full mix and Stems)
Does any of this make any sense? Would you suggest something different? Do you think 5 days is enough to do a good/professional job for DX and SFX editing? Or should each area have less time?
Also, if the mix was in ATMOS instead of 5.1/st, how much time would you add for it and deliveries? How would this impact this timeline? How many days would you give an ATMOS mix for a 45" episode?