Editing Production staff positions
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The Re-imagined Series has a large production staff with many specific credits. | The Re-imagined Series has a large production staff with many specific credits. | ||
==Executive | ==Executive producer== | ||
The executive producers are the most senior members of the production team and exert the most creative control over the series. They are typically the show runners and head writers. | The executive producers are the most senior members of the production team and exert the most creative control over the series. They are typically the show runners and head writers. | ||
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Paul M. Leonard was credited as an associate producer for the first season. There were no associate producers for the second and third seasons. Editor [[Andrew Seklir]] became an associate producer for the fourth season - he is responsible for the opening credits sequence. | Paul M. Leonard was credited as an associate producer for the first season. There were no associate producers for the second and third seasons. Editor [[Andrew Seklir]] became an associate producer for the fourth season - he is responsible for the opening credits sequence. | ||
==Story | ==Story editor== | ||
Story editor is a liaison position between the series writing and production staff. The story editor has many responsibilities including finding new script writers, developing stories with writers, and ensuring that scripts are suitable for production. The story editor will work closely with the writer at each draft of their story and script, giving the writer feedback on the quality of their work, suggesting improvements that can be made whilst also ensuring that practical issues like continuity and correct running time are adhered to. | Story editor is a liaison position between the series writing and production staff. The story editor has many responsibilities including finding new script writers, developing stories with writers, and ensuring that scripts are suitable for production. The story editor will work closely with the writer at each draft of their story and script, giving the writer feedback on the quality of their work, suggesting improvements that can be made whilst also ensuring that practical issues like continuity and correct running time are adhered to. | ||