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Ekta

@HaymurS

Achiever

+ 3

Posted: 11 years ago

#41

'Friday Night Lights' Reunion:
Adrianne Palicki Joins NBC's 'About
a Boy' (Jessica Moore)
http://www.hollywoodreporter.com/live-feed/friday-night-lights-reunion-adrianne-673560?
Adrianne Palicki (Supernatural's
Jessica Moore) has booked a guest
arc on the comedy starring David
Walton and Minnie Driver, The
Hollywood Reporter has learned.
p.s havent posted the whole article just the spn part and main news😳

Quote

Ekta

@HaymurS

Achiever

+ 3

Posted: 11 years ago

#42

Supernatural From Script to Screen:
Producer Todd Aronauer
http://supernaturalwiki.com/index.php?title=Supernatural_From_Script_to_Screen:_Producer_Todd_Aronauer
It's the people that you work
with, that you surround
yourself with, that makes it fun
and a great environment to
work in every day... We've
been fortunate to have the
steady work, but it's also
challenging and creative and
it's a great environment with
great people.
- Todd Aronauer, Supernatural
Producer in charge of Post
Production

What happens between when an
episode is filmed and when it ends
up on our TV? Individual shots and
scenes must be edited together,
visual effects and sound effects
added, music scored and much
more. This is the realm of post-
production. The man in charge of all
this for Supernatural is Producer
Todd Aronauer, who I spoke to
recently from the LA office while he
was still sweaty from finishing his
first triathlon.

POST-PRODUCTION - WHERE IT
STARTS
Jules: When does the work for post-
production start - I assume it's
before filming even begins?
Todd: It varies per episode, but
generally Post production starts at
the outline stage of a script with any
material we need to deal with ahead
of time. Our show involves a lot of
research and development, visual
effects and music and sound,
anything that might need my help in
finding the direction for the look of
something, a voice for voiceover,
playback footage, and music to
license...
Jules: Don't you usually use Bob
Singer (laughs)?
Todd: Hey I've done voiceovers too -
I was the voice of Plucky
Pennywhistle!
In Dog Dean Afternoon I had to cast a
few actors to voice our animals that
only Dean could hear. That process
began before we started shooting but
it came down to the last minute for
all the rolls to be cast. The voice of
the little Yorkie was the most
difficult. We kept going back and
forth as to what this dog should
sound like, what type of voice,
accent, tone, the whole package. We
received some great auditions but
nothing seemed to blow us away. It
was a last minute idea that Bob
Singer had to get Leslie Jordan . Bob
and Phil Sgriccia had worked with
him awhile back on Lois & Clark so
we asked if he'd be available as a
favor to Bob. Leslie responded
quickly and was happy to lend his
voice but we had a very short
window to record him because he
was leaving town for a shoot on
another series. My kick ass crew
scrambled to schedule some studio
time while he was still in town. We
got him in the booth and he just
nailed it. He's such a talented actor
and had a lot of fun with roll. He was
great to work with.
THE TYRANNY OF DISTANCE,
CHANGING TECHNOLOGY AND VFX
Jules: Of course the show is shot in
Vancouver, as is Visual Effects, and
then you have the writers and post-
production in L.A. What sort of
challenges does that create?
Todd: Every production has their own
challenges and miscues whether
they're right next door or 1000 miles
away. I'm just glad we're in the same
time zone. Obviously we're not able
to just walk right down the hall to
discuss notes or be there for all the
meetings that we'd like which is why
I always try to emphasize
communication. Especially the little
details because those are the ones
that can quickly snowball into bigger
problems.
Jules: Has that changed over time?
Has it got better or is it just inherent
in the distance and changes in
departments?
Todd: The industry is constantly
changing so every season brings new
challenges. There are new personnel,
a new process or workflow or new
equipment we're using. For example
in the first three seasons we were
shooting on film and during season 3
we shot the Episode Ghostfacers,
which was the first episode which
was shot almost entirely digital
except for the very tail end of it. We
used little consumer grade
handicams. I still have mine and
even used it to shoot the Web Series
too.
We were joking when we were
prepping and shooting the episode,
that it was our test for switching over
to the digital format. Studios were
starting to ask their productions
about the feasibility of digital capture
on a TV series schedule- how it was
going to impact the process, and the
budget and it did have a lot of
impacts. Some were expected, some
not.
Jules: While that changeover to
digital was probably inevitable, what
sort of impact did it have on the
business?
Todd: Every production is different.
There are different people that are
making it creatively, different
requirements from the studio,
network, distribution companies, or
different international departments,
different archiving requirements and
different delivery requirements across
the board. So what works for one
show won't necessarily work for the
next, even if they are with the same
studio or network.
Even though we changed over to
digital in season four, we've changed
our editing equipment and processes
nearly every year. I think this season
is the first year we haven't had much
change in equipment, aside from the
first three where it was all film. Even
personnel wise we are pretty much
the same as last season. Even when
we were on film, things changed
significantly from season one to
season two. We were using a VFX
company - Stargate - in the first
season, and then we ended up
buying all the equipment and making
it an in-house department.
It's a big shift as a producer, looking
at the budget, and as filmmakers, it
changes how you look at things and
how things can be done. Instead of
every single shot becoming a number
- there's a price tag on a muzzle
flash, a wire removal, or a 3D effect
- it ends up being more a budgeting
of time as far as what can we get
done in X amount of days. The VFX
team is headed by Mark Meloche and
he's done a fantastic job with the
department.
Initially, when we built the
department, we were anticipating, I
think it was like 300 shoots for
season 2. It's gone up incrementally
and I think last year was about 1200
shots for the season. Anytime we
think of something that might tell the
story that much better, and cleaner,
we'll call up visual effects and say
"Hey Mark what do you think about
this?" and usually he'll say "Yeah,
let's do it!"
Jules: And it must change the
relationship in a creative sens...
Todd: Absolutely, because it really
opens up many possibilities of what
can be done within our schedule. As
opposed to trying to be economical
in a dollar sense, you are doing it
with time. You are trying to make the
best show possible - you don't want
to do a visual effect just to do it.
Just the same way a director might
envision a really cool shot, but if it's
not really telling the story it can
negatively affect what you are trying
to do.
Mark has been with us since the first
season, and he's very much in tune
with the look and direction we're
going for. We've developed a bit of a
shorthand in our daily conversations
that might sound like gibberish or
obscene or hilarious to an outsider
but that's just us doing our jobs.
EDITING
Jules: So once the shooting of an
episode begins, when does the
editing process start?
Todd: Every day Production takes
what they've shot and delivers the
footage to our post house in
Vancouver, who pipes it down
overnight to LA. Then we pick up our
dailies and start cutting.
Sometimes the editor might call up to
set just to touch base with the
Director, or the Director might have a
question, because they might be
going back to that set or they might
be doing something else with a
character and they want to be
consistent or they might ask to see a
sequence. So there is usually some
communication between the editor
and the director every day.
The editor has the script, with the
script supervisor's notes. She might
note if a line is changed from the
script, or something is changed in
the action for whatever reason, how
many takes were shot, the angles
that we have, what was shot from
each angle, or if an insert shot is
needed. They will also indicate the
director's preferences which we call
circle takes - they literally circle
which take is the preferred one. This
is Season 9 for Supernatural and our
editors have been here for so long,
that our directors really trust our
editors to use their creativity to piece
it together.
Editing -- just like production or the
writer or any other stage of the
process -- we're trying to tell the
best story we can and sometimes
we're able to find a different way,
with the pieces of the puzzle we've
been given. We have three kickass
editors so they get every third
episode, and it's great to see what
these guys come up with.
One thing that's consistent in
Supernatural, however, is that nothing
is ever consistent. One episode can
be totally different than another.
Whether it's The French Mistake or
Changing Channels or Hunteri Heroici
there's a handful in every season that
totally take a left turn, and then the
next one goes in an opposite
direction. It's a big reason why so
many people have been with the
show for so long. It keeps us on our
toes and allows us to be creative.
Jules: What are some of the
challenges that come up during
editing?
Todd: I think the biggest challenge is
getting an episode to the running
time that we need to deliver to the
network. Often, a rough cut of an
episode is long so we need to find
what to cut to get us to our target
time. That's a tough task trying to
find what we can omit from the show
but still tell the same story. As you
may have noticed from our DVDs, we
don't have many deleted scenes
because we just trim a little here and
there and try to maintain the original
script. We end up having to try
different versions and going over all
the footage to find those trims.
Jules: What happens once shooting
begins?
Todd: While the episode is shooting,
the editor is getting dailies and
cutting every day. Every show goes
through the same process but the
schedule is different for each
episode depending on its airdate.
Some episodes have more or less
days to post and it can become a bit
of a juggling act for the editors. They
often have 2 different episodes at
different stages of rough cuts that
both need their attention so we have
to prioritize.
After shooting is finished, the editor
gets a couple of days with all the
material to go over what they've done
and put together the editor's cut.
Then the director comes in and goes
through all the material with the
editor and they work together to put
director's cut together. So then the
producers get in - that would be Phil
Sgriccia, Bob Singer, J eremy Carver,
myself, the Editor and Assistant
Editor. We have maybe 3-4 days - it
all depends on schedules and
airdates how much time or little time
we have.
VISUAL EFFECTS
Todd: Before we have the official
producers cut, we're on the phone
with VFX and have a visual effects
spotting session about every visual
effect that's going to be in the show.
A lot of time that varies very
drastically from what was intended
when they were shooting, what was
intended in the script because we
might've cut out a shot or edited a
couple of shots for any given reason.
We're seeing it from a different
vantage point, a different perspective,
and having fresh eyes on it you start
to piece it together differently, as it
goes through the different hands in
the process. It changes. Sometimes
scenes get shifted around, More VFX
might help tell the story better, or
less visual effects might help the
dialogue play a little better or the
action play a little better and make it
that much more enjoyable for the
audience.
When the producer's cut is done, we
send that to the studio and network.
They really trust us, and we work
collaboratively with them through the
whole process. So once we've had
our visual effects meeting, we've
gotten our notes from the studio and
network, at the point the picture's
locked, and we have a spotting
session with our sound department.
MUSIC AND SOUND DESIGN
It's a potpourri of audio
goodness!
- Todd Aronauer,

Todd and Chris doing their
Winchester impersonations at Comic
Con 2012
Jules: Music, both the classic rock,
and the original score are integral to
the show. How does the music for
each episode get developed?
Todd: We have two composers, Jay
Gruska and Christopher Lennertz ,
who delver great cues. Chris did the
pilot and Jay scored Wendigo and
they've been leap frogging episodes
ever since. I don't know of any other
series that works this way this but it
works great for us.
After we lock the show, there's a
Spotting Session where we discuss
all aspects of sound design and
score for every scene and every
moment of the episode. In that
meeting are Bob, Jeremy, Phil and
myself along with the Composer,
Dino Moriana (Music Editor), Alex
Patsavas Rosenfeld (Music
Supervisor), Michael Lawshe (Sound
Supervisor), the Editor ( Nicole Baer ,
Don Koch or Jimmy Pickel), and
other members of my Post crew - PJ
Tancinco (Associate Producer),
Shawn Wagoner ( Post Production
Supervisor] and Hilary Brinkman
(Post Production Coordinator).
We discuss everything from where a
music cue should start, what sort of
sound or emotional tone the cue
should have and where it should end.
Sometimes certain instruments are
requested depending on what we
want the cue to bring to the scene.
Color correction is also talked about.
Those meetings take an hour and a
half, two hours. After so many
seasons, the meetings have gotten
shorter. Sometimes it's simple
because it's "the boys on the job" or
"the boys doing research. Essentially
what it is - it's themes. The family
theme, the action theme. It's okay to
dial up that theme because that's the
storyline we want the audience to get
right away.
Mike Lawshe has been on the show
since the pilot and has created the
sound world that we live in. He does
an amazing job in the short time we
give him and his crew to cut the
dialogue and sound effects as well
as cue, record and cut the foley and
ADR . There's many occasions in the
spotting session where we get to a
big action and VFX heavy sequence,
turn to Mike and just say "Good luck,
we're all counting on you" and he
delivers every time.
It takes about 5 days to a week to cut
all the sound- they're cutting
dialogue, sound effects,
backgrounds, recording ADR and loop
group and designing the sound for
what we want to hear for that
episode, and for any given scene and
even for any set that we're in. We
want the Men of Letters library to
sound different than the Men of
Letters' dungeon. They're subtle
differences that not a lot of people
may hear but as long as they don't
feel that things are just stagnant.
While the sound department is off
editing all the sound, the composer
is off writing and recording all the
music. In Editorial, we're working on
several different episodes at any
given time. We can be working on
3-5 or 6 different episodes at
different stages of dailies and rough
cut.
After the music is written and
recorded, and all of the audio has
been cut then it's delivered to the
dub stage where I sit there for two
days with our mixers (Dennis Kirk,
Todd Orr and Daniel Nakamura)
Michael Lashwe and Dino Moriana.
We go thru the entire show sound by
sound, line by line cue by cue and
"mix" everything in. Every sound,
every piece of dialogue, every music
cue, whether its score whether
hearing loop group or foley or ADR or
production dialogue, every piece has
to be mixed, equalized and levels set
just right. We need to make sure we
can hear the individual pieces of
audio, but also the background foley
noises that we need to hear, make
sure the music is all playing
underneath and we can hear
everything over it. It's a potpourri of
audio goodness!
Within the time of all the audio being
cut before we get to the dub stage,
on the picture side there's the colour
correction that's happening, there's
the visual effects being delivered,
viewing and giving notes and
dropping those in, there's titling, any
other drop-ins and fixes that need to
happen. If we're waiting on inserts,
we got to shoot those and cut them
in. Generally by the time we lock a
show and have that spotting session,
within a day or two that same editor
is getting the dailies for their next
episode if they haven't started
receiving them already.
Once we've put everything in to our
liking we "playback" the show for
Jeremy, Bob, Phil and myself, and
give notes, and make some quick
adjustments to the sound. Then we
take that final audio track and lay it
back to the final picture in the
layback session.
From there our final picture with final
sound goes to our post house to
make our delivery dubs. We're usual
delivering it the day before it airs, so
now that we air on a Tuesday, we're
delivering Monday morning.
Jules: In 2012, you and Chris
Lennertz were part of a panel about
music in TV at Comic Con.
Todd: Yes! "The Anatomy of a
Soundtrack". That was a lot of fun.
The panel was for the composers, so
I was there in support of Chris. There
were a number of producers and
composers who were on the panel as
well, and it was great to meet all of
them and talk about their projects
and how they collaborated with one
another. It was also a thrill being
there and talking to fans firsthand.
When they announced me, nobody
knows me, but they mention
Supernatural and Ghostfacers and the
place erupted! It was cool.
ORIGIN STORY
Jules: So how to you get into the
business?
Todd: As a child I watched a
tremendous amount of television, to
my parent's dismay. I always said it
was their fault for putting a TV in my
bedroom. I always considered it
research.
Jules: What were you watching?
Todd: 70s and 80s sitcoms mostly.
So much so that the lullabies I would
sing to my kids (now 6 and 4) - well
you always want to sing songs you
know the lyrics too. So I would sing
theme songs from TV shows to them
- The Facts of Life, Greatest
American Hero, Diff'rent Strokes,
Growing Pains ... [Note: it was Todd
suggestion to have Castiel sing the
theme to "Greatest American hero" in
9.06 Heaven Can't Wait , after they
couldn't get clearance for AC/DC
song "Highway to Hell" that writer
Robert Berens had suggested.
Jules: I do think it's sad that we've
lost theme songs from TV shows.
Todd: Yes and main title sequences
too. Even Supernatural - we have
that seven second card. We had a
discussion early on when we were
trying to come up with a main title
sequence, and everything that we
were trying - 30 seconds felt too
long, so we were doing things for 20
seconds and then 15 and then we
asked ourselves "what do we need it
for? Don't we want to get more show,
more content?" At some point, we
asked what we are trying to tell with
a title sequence. A lot of shows from
the 70s and 80s used that time for
the theme song which would set up
the story for you. That actually led us
to our first recaps which the network
calls "Saga Sells" to help, well, sell
the saga actually. So for us it was
"Saving people; hunting things. The
family business."
Jules: So what happened after
watching all that TV...
Todd: I grew up in New York, and
went to college at The Ohio State
University where I graduated with a
degree in Communications. I just
always knew I wanted to move out to
LA and try to get into the
entertainment business. I never really
considered post-production until I
actually was in it. The opportunity
just came my way; I found it to be
educational. It's an ever changing
process especially now, with digital
capture, file deliveries, every season
it's an ever-moving target. As I said
before, every show is doing it
differently, and there's nobody out
there that can say a show is doing it
wrong. Unless they are actually doing
it wrong!
Jules: How did you end up on
Supernatural?
Todd: Two of the first people I met
when I came to LA was Eric Kripke
and Chris Lennertz. Eric and I had a
mutual friend who introduced us and
we became friends. You can actually
see the back of our buddy's head in
a crowd shot at the end of the pilot.
Eric and I never connected
professionally previously but when
Supernatural came up, the job I was
working on for Warner Brothers was
wrapping up, and he asked if I was
available to jump over and help him
out with the pilot. So I did. And he
hasn't fired me so here I am.
Chris Lennertz and Eric went to
college together. Chris and I had
always crossed paths on different
projects, working at the same studios
and finding each other at Christmas
parties or wrap parties but never
having worked on a project together.
And when Supernatural came up, it
was great that we were all able to
work together.
Jules: What's kept you working on
the show for nine years?
Todd: It's the people that you work
with, that you surround yourself with,
that makes it fun and a great
environment to work in every day.
Both in Vancouver and in LA people
have been with Show since early on
and even people who have gone off
to work on other things have found
themselves coming back. We've been
fortunate to have the steady work,
but it's also challenging and creative
and it's a great environment with
great people. There's not an asshole
among us (unless I'm the asshole!).
Jules: And that's included directing
the Ghostfacers Web Series . How did
that come about?
Todd: I was very involved during the
Ghostfacers episode - prepping,
camera tests, finding out what the
story was about, what cameras would
they use, and jumping into that
aspect of it. I was also thinking
about the characters - what would
they be using, what would they be
wearing, so I got close to the
characters.
I'd been directing inserts for the
show, and when the web series came
up I threw my hat into the ring and
said I'd love to be a part of it in any
way possible and it was blast.
Jules: What's a good day for you?
Todd: A busy day. A day that flies by
and its 6 or 7 o'clock and you look
up and you don't even realise what
time it was and you've got so much
work done, and you feel
accomplished.
Jules: By the time an episode airs,
you've seen it all so many times -
do you ever watch it on TV?
Todd: Absolutely. I always record it
at home and if I'm not watching the
entire episode, I'll definitely jump to
scenes that I want to see or hear
how it comes across on the
broadcast. Every room we work in is
the best we're ever going to see or
hear it so I always like to check to
see how it plays for me at home.
Once we deliver an episode, it's out
of our hands. The Network does their
thing before beaming it for the cable
or satellite providers to pull in down
and put it in their system and get it
ready for the East and West coast
feeds. An episode goes through quite
a process before its available to the
viewers and we as producers have
no control over that.
FANDOM
Jules: What got you onto Twitter and
what's it like having such direct
contact with the Show's fans?
Todd: Just two years ago I was
watching one of our episodes, and
the promo said that we'd be airing
the following week, but our schedule
had just changed that afternoon. I
don't think I'd ever tweeted before,
but I felt the need to tweet a
correction to the fans and let them
know that there was a last second
schedule change. And within 24
hours I had maybe 500 followers
asking questions about the show and
saying how much they love what we
do.
Having that openness, that volume of
responses, whether it's negative or
positive, criticism or love, just being
able to reach the fans, it's fantastic.
In the years before Twitter and the
easy access of social media, you had
to seek it out and it wasn't so readily
available.
Our fan base is huge and very loyal
and very defensive over the
characters, the story lines and what
we do. And we love them for all the
love, thoughts and comments that we
get from them.

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Ekta

@HaymurS

Achiever

+ 3

Posted: 11 years ago

#43

Supernatural's 'LARP and the Real
Girl' receives GLAAD Media Award
nomination
http://www.glaad.org/mediaawards/nominees
Supernatural's episode 'LARP and the
Real Girl ,' has received a nomination
from the GLAAD Media Awards for
Outstanding Individual Episode (in a
series without a regular LGBT
character).

Quote

Ekta

@HaymurS

Achiever

+ 3

Posted: 11 years ago

#44

Originally posted by: Maano_billi

</center>
<center> TFS😊

welcome
and thanx for liking😳

Quote

Ekta

@HaymurS

Achiever

+ 3

Posted: 11 years ago

#45

*for all news regarding supernatural spin off...check here:
https://www.indiaforums.com/forum/supernatural/3902096/supernatural-spin-off-gets-atitle

*Will God return to help the Winchesters
https://www.indiaforums.com/forum/supernatural/3892551/supernatural-will-god-return-to-helpthe-winchesters

*critics choice 2014
https://www.indiaforums.com/forum/supernatural/3888294/critics-choice-2014

* Jared Padalecki: Why Babies
AreTough for Grown Men
https://www.indiaforums.com/forum/supernatural/3895228/jared-padalecki-why-babies-aretough-for-grown-men

*Jared padaleacki names son shepherd
https://www.indiaforums.com/forum/supernatural/3895222/jared-padalecki-names-sonshepherd

Edited by devilish-grin - 11 years ago

Quote

Ekta

@HaymurS

Achiever

+ 3

Posted: 11 years ago

#46

* 'Supernatural': DJ Qualls promises
a'mind-blowing' - and nude - episode
https://www.indiaforums.com/forum/supernatural/3900831/supernatural-dj-qualls-promises-amind-blowing-and-nude-episod

* Best Of TV Awards 2013 - Best Non-
Human Character Or Prop Winner -
THE IMPALA "Supernatural"
https://www.indiaforums.com/forum/supernatural/3898504/best-of-tv-awards-2013

* The Originals, Supernatural FuelCWs
Tuesday Turnaround
https://www.indiaforums.com/forum/supernatural/3897803/the-originals-supernatural-fuelcws-tuesday-turnaround

*the evolution of TVs demon hunters
https://www.indiaforums.com/forum/supernatural/3897781/the-evolution-of-tvs-demon-hunters

Quote

Ekta

@HaymurS

Achiever

+ 3

Posted: 11 years ago

#47

video of jensen playing prank on misha on sets of supernatural;

[YOUTUBE]http://www.youtube.com/watch?feature=player_embedded&v=9INsWgGRd4g[/YOUTUBE]

Edited by devilish-grin - 11 years ago

Quote

Ekta

@HaymurS

Achiever

+ 3

Posted: 11 years ago

#48

my heart goes out for misha😆

https://www.indiaforums.com/forum/supernatural/3910030/my-heart-goes-out-for-misha

when jared stole stephen baby😆

https://www.indiaforums.com/forum/supernatural/3913352/when-jared-stole-stephens-baby

9 memorable tv satans😳

https://www.indiaforums.com/forum/supernatural/3916516/sympathy-for-the-devil-9-memorable-tv-satans

2013 most shocking n memorable deaths on tv

https://www.indiaforums.com/forum/supernatural/3916507/2013s-most-shocking-and-memorable-character-deaths-on-tv

Quote

Ekta

@HaymurS

Achiever

+ 3

Posted: 11 years ago

#49

Interview with Jim Beaver: Actor,
Friend, Writer and Film Star

http://m.huffpost.com/us/entry/4751476

Quote

Ekta

@HaymurS

Achiever

+ 3

Posted: 11 years ago

#50

Genevieve Padalecki's film 'Hated'
to be released in March

'Hated' starring Genevieve Padalecki
(Supernatural's second Ruby) has
finally received a release date.
'Hated' will be released on VOD
platforms on March 11th with a DVD
release slated for March 25th. The
film is being released by Filmbuff and
will be available on Itunes, Amazon
Instant, Vudu, Xbox, Google Play and
YouTube Movies.

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~|| SUPERNATURAL INTERVIEW AND NEWS CORNER ||~ - Page 5

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