Tim Mangini is the Director of Broadcast for Wgbh’s Frontline. His overarching role is to make sure the programs get made and that they get made on time, on budget, and that the quality level meets Frontline’s expectations. Tim began his career working in animation and sound in Hollywood, then came back to Boston and worked in the corporate and broadcast video world before joining Wgbh in 1995 as a post-production supervisor.
One of his roles as Director of Broadcast is to work with producers to identify the equipment they need to capture their vision. We recently spoke to him about production, and shooting for Frontline:
Filmmaker: What’s your relationship with the producers?
Mangini: When they are given a project for Frontline, it’s written into their contract that they give us a call and that we discuss the technology that they’ll use for acquisition and for post-production.
One of his roles as Director of Broadcast is to work with producers to identify the equipment they need to capture their vision. We recently spoke to him about production, and shooting for Frontline:
Filmmaker: What’s your relationship with the producers?
Mangini: When they are given a project for Frontline, it’s written into their contract that they give us a call and that we discuss the technology that they’ll use for acquisition and for post-production.
- 8/28/2012
- by Michael Murie
- Filmmaker Magazine - Blog
Part Two of our interview with Tim Mangini, the Director of Broadcast for Wgbh’s Frontline: (Read part 1 here)
Filmmaker: Do you feel like you’re now moving away from DSLRs at Frontline?
Mangini: When Canon made the 5D they added the video capability almost as an afterthought. It was not, “Hey, let’s revolutionize filmmaking.” Well little did they know, they revolutionized filmmaking.
Along the way, people started asking for things like, “It would be really great to be able to record audio that was worthwhile, or it would be really good if the files could be transferred easily, or it would be really good if I could watch what I am shooting in hi-def while I am shooting it.” Word got back to Canon, and Canon started making their DSLRs better at doing those things.
That being said, part of my start in the business was in sound.
Filmmaker: Do you feel like you’re now moving away from DSLRs at Frontline?
Mangini: When Canon made the 5D they added the video capability almost as an afterthought. It was not, “Hey, let’s revolutionize filmmaking.” Well little did they know, they revolutionized filmmaking.
Along the way, people started asking for things like, “It would be really great to be able to record audio that was worthwhile, or it would be really good if the files could be transferred easily, or it would be really good if I could watch what I am shooting in hi-def while I am shooting it.” Word got back to Canon, and Canon started making their DSLRs better at doing those things.
That being said, part of my start in the business was in sound.
- 8/28/2012
- by Michael Murie
- Filmmaker Magazine - Blog
Episodes of Frontline have an average eight-to-twelve month gestation period from the time they are awarded to the time they go to air. “We might have some programs that go two or five years, and we have some programs that are done in a matter of weeks, but the average is eight to 12 months” explains Tim Mangini, Frontline’s Director of Broadcast.
In broad strokes, this translates to four-to-five months of research, a month of shooting, followed by two-to-three months of post-production work. The typical number of shooting days is 20 to 25.
Post-production is done offline; Frontline still uses an offline/on-line model of editing. Here too there can be significant variations in the length of time it takes. “There are people who are editing in a few weeks, and there are people who are editing in 25 weeks,” says Tim, but generally ten-to-12 weeks of off-line editing is typical.
Once the...
In broad strokes, this translates to four-to-five months of research, a month of shooting, followed by two-to-three months of post-production work. The typical number of shooting days is 20 to 25.
Post-production is done offline; Frontline still uses an offline/on-line model of editing. Here too there can be significant variations in the length of time it takes. “There are people who are editing in a few weeks, and there are people who are editing in 25 weeks,” says Tim, but generally ten-to-12 weeks of off-line editing is typical.
Once the...
- 8/28/2012
- by Michael Murie
- Filmmaker Magazine - Blog
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