Show Production Manager

Show Production Managers are the heart and soul of a project. They are responsible for managing all aspects of a show and the successful running of the production. The SPM is in charge of the overall schedule and must maintain this schedule throughout the course of the project. As well as extensive client relationship management, the Show Production Manager will need to work closely with the Heads of Department and VFX Supervisor to establish clear and efficient methodologies. They are the driving force of the team, actively planning the day‑to‑day work while looking ahead and seeing the big picture, ensuring the full team feels supported and motivated. Technical Sets up the show in Shotgun Sets up version zeros send procedure Sets up shots, sequence, and assets in Shotgun Works with the Mumbai team to ensure the setup of onset data Sets up client send procedure, based on Client Delivery/Tech Specs Sets up Internal & Client weekly reports Works with the Shoot department for any shoot requirements Notifies the Editorial team regarding show details Sets up Tech check procedure Workflow Works with the CPM to define all processes and procedures on the show. Update the Production section of the show wiki on DNET, with “how to” documentation for all non‑standard processes used on the show. Work with the Producer, VFX Supervisor, Head of CG, Head of Production Processes and the Central Production Manager to establish client asset stages and shot stages. Organise all initial meetings such as Get Go’s, Methodologies, Stages. Resourcing Communicate any show updates to the Department Production Managers (DPMs) and local Resource Manager to allow the departments to plan accordingly. Keep an open line of communication with each department by booking Show / Department meetings and attend these meetings weekly. Update the block weekly based on the schedule, respect the two week rule and only roll crew on and off outside of that time frame. Use spotfire to keep a running check on Show Health. Work closely with DPMs on any issues. Work with the DPMs and Dept Supervisors to solve any problems that come up with the schedule or crew. Attend meetings with the CPM and Resource Manager to discuss show and company updates. Cross‑Site Work out cross‑site processes and how communication will flow. Set up “Nightly News” on the show. Work out which site will deliver and accept material to and from the client. Ensure the location split is clear and workflows are defined (e.g. how work will be reviewed, how work will flow between the sites). Establish and attend cross‑site meetings to ensure that the sites are talking to each other efficiently. Ensure a smooth turnover of cross‑site schedules to the Show PMs in other sites. Team Set up the production team split across departments and sequences. Add details to the show DNET page. Set up and run the show team daily schedule (with support from the Production Assistant). Link Production and Show Supervision team to the show when they join, ensure that the correct team members are included on the appropriate email aliases. Be the leader, support and mentor the production team with tips, tricks and advice on best practices. Client Maintain professional relationships with the clients. Make sure the client has briefed the show team fully on Shot Briefs, as well as any updates to the briefs. Check that client requests are being prioritised and replied to by the Show Production Assistants. Keep an eye on client emails, making sure they are all responded to correctly and in a timely manner. Communicate any issues with the schedule or methodologies to the Producer/VFX Supervisor that need to be raised to the client. Ensure version zeroes are being sent to the client. Work closely with the Editorial team in making sure Client Tech Specs have been accounted for in deliverables. Organise and attend briefing meetings for new turnover/brief changes. Send the weekly client report. Oversee setup of, and attend client calls. Schedule Create block schedule outside of Shotgun using the bid to inform overall planning. Create an overall schedule in Shotgun using client milestones. A first pass/draft schedule of all turned over Assets and Shots is always preferred. Set priorities with Editorial regarding order of publishing cuts, retimes. Group shots into Production Shot Groups based on shot likeness, scope of work, Hero shots etc to aid scheduling. Assign lookdev and hero shots (with VFX and DFX Supervisor), group into anim beats for animation heavy shows (with Anim Director/Supervisor). Work with DFX Supervisor about tagging shots. Import all relevant material, example: shots, assets, shot and asset information, tasks and milestones. Run a check to ensure import has worked correctly. Make sure shots have been bid. Send the schedule to the Line Producers and Department Coordinators and help them with their schedules as needed. Setup a weekly schedule timeline for all roles on your team to adhere and work with. Keep the Producer and VFX Supervisor up to date with the overall health of the schedule, and work to resolve any issues. Using the schedule, help the DFX/CG Supervisor to make render farm estimates to provide to Tech. Help the CG Supervisor to prioritise and triage cross‑department tickets. Maintain Show Production and Supervision tasks in Shotgun. Update shot and asset statuses in line with Client notes. When client notes come in, ensure they are added to dailies/discussed with the Supervisors and notes are being reflected in the targets. Ensure the smooth running of target meetings to track progress of targets and adjust/swap as necessary. Send 3 week sprint targets and weekly targets to the Show and Department Production and Supervision teams. Ensure Production Assistants are keeping versions and playlists clean. Ensure that Line Producers are keeping track of their schedules and keeping them clean, updating their notes and department milestones promptly, that they are on top of bids vs actuals, checking upstream dependencies, following correct methodologies for the shots, following DNEG production workflows, and flagging any scheduling issues in a timely manner. Ensure the Coordinators are keeping up to date with their 3 week schedules and targets. Ensure that Line Producers are checking upstream dependencies, the Department Milestone Status and Department Coord Note fields to inform target changes. Follow and uphold the DNEG best practices for scheduling, notify the CPM if a workflow needs updating. Towards the end of the show, make the Supervision and Production teams run an actual check, adjusting the durations to match the projected work left. Close project by conducting end of show schedule clean up, archiving show, organising breakdowns, facilitating what needs to go into the asset and setup library, conducting end of show debrief for the Show Post Mortem. Budget and Overtime Send costs to date to the Producer for omitted shots/brief changes. Keep an eye out for client/internal notes that add costs and flag with the Producer, communicate to the team about whether we will do the additional work. Monthly predictions, monitor progress and work with DPM’s to check for resources. Supervise the organisation of weekend work. The base salary range for this full-time position is $85,000 to $105,000. DNEG salary ranges are determined by function, department, level, and location. An individual's pay within a given range is determined by their transferrable or job‑related skills and work experience. Salary ranges are modified from time to time based on external market data collected through our third‑party surveys. Seniority level: Mid‑Senior level Employment type: Full‑time Job function: Marketing, Public Relations, and Writing/Editing Industries: Animation and Post‑production and Movies, Videos, and Sound Location: Langley, British Columbia, Canada #J-18808-Ljbffr