Tamara Isaac Email & Phone Number

Los Angeles Metropolitan Area

I’ve led post-production teams on several television series and pilots, including both seasons of SHINING VALE (Starz), EVERYTHING SUCKS (Netflix), THE LOUDEST VOICE (Showtime/Blumhouse), and the pilot for FIRE COUNTRY (CBS/Bruckheimer Films). I’ve allocated series budgets of up to $10M, generated production schedules, and managed editors, producers, and support staff. Additionally, I oversee all aspects of vendor relationships, including sourcing and reviewing bids, negotiating rates… Show more I’ve led post-production teams on several television series and pilots, including both seasons of SHINING VALE (Starz), EVERYTHING SUCKS (Netflix), THE LOUDEST VOICE (Showtime/Blumhouse), and the pilot for FIRE COUNTRY (CBS/Bruckheimer Films). I’ve allocated series budgets of up to $10M, generated production schedules, and managed editors, producers, and support staff. Additionally, I oversee all aspects of vendor relationships, including sourcing and reviewing bids, negotiating rates, monitoring timelines, managing quality control, and approving deliverables to ensure they align with the show’s overall creative integrity. I’ve worked across a variety of formats and workflows, and I can easily adapt to different production needs. For instance, the first season of SHINING VALE was shot during COVID-19, and I implemented a remote workflow, and later, a hybrid solution that accommodated our team members who still needed to stay home. A major aspect of my role is stakeholder relations, including streamlining communication between studios executives and producers/directors. I’m known for my ability to advocate for creatives while maintaining transparency, so when inevitable budget or schedule shifts happen, all the stakeholders are aligned on how to move forward. Because of the reputation I’ve built, I was brought in by Hulu as a consultant on REPRISAL to institute new processes on the production team that enabled them to meet the studio’s deliverable requirements on time and on budget.SELECTED CREDITS:SHINING VALE (2 seasons)FIRE COUNTRY (pilot)REPRISAL (1 season)THE LOUDEST VOICE (mini-series)EVERYTHING SUCKS (1 season)SCALPED (pilot)LONG ISLAND CONFIDENTIAL (pilot)DEAD PEOPLE (pilot) Show less

Los Angeles Metropolitan Area

I’ve worked on many productions for Bad Robot, starting with LOST. I started as a post-production supervisor on the first season and was promoted to associate producer for season two. LOST was an incredibly complex project – it was the first time a broadcast network was making a big budget sci-fi/fantasy epic, and it was shot on location in Hawaii on film, while VFX were processed in LA. At the time, the network still had 2-3 day turnaround windows for episode deliveries, even though this show… Show more I’ve worked on many productions for Bad Robot, starting with LOST. I started as a post-production supervisor on the first season and was promoted to associate producer for season two. LOST was an incredibly complex project – it was the first time a broadcast network was making a big budget sci-fi/fantasy epic, and it was shot on location in Hawaii on film, while VFX were processed in LA. At the time, the network still had 2-3 day turnaround windows for episode deliveries, even though this show was not a typical production. Despite this, I made sure our cuts were always delivered on time for broadcast, including securing creative approval on final cuts from all the creatives and executives, since it was such a massive property for the network. I thrived in that high pressure environment, and I’ve used the problem-solving skills I developed on this show throughout my career.After leaving LOST, I was promoted to producer on FRINGE, and I oversaw the post team for the series’ 5-season run on FOX. I’m really proud to have innovated a new sound mixing model on that show. Previously, we would share vendors with multiple productions, which led to a longer creative notes process and higher costs. I partnered with Bad Robot’s internal head of post to develop a new system to bring sound mixing in house, with a dedicated mixer who was part of the show’s core team. This streamlined the notes process and led to faster, more cost-effective turnarounds. I adapted this model for future shows, and it’s currently used on multiple productions at Bad Robot and elsewhere.I had the opportunity to work on several other productions for the company, including Hulu’s CASTLE ROCK (Hulu), SIX DEGREES (ABC), BELIEVE (NBC, directed by Alfonso Cuarón), ROADIES (Showtime, directed by Cameron Crowe), and multiple pilots. I learned a lot about the creative process by collaborating closely with the directors, and I earned their trust with my oversight of color correction, audio mixing, and ADR. Show less

Los Angeles Metropolitan Area

I began my career as a post-production coordinator on hit NBC series ER and CROSSING JORDAN. I was promoted to post-production supervisor on the third season of CROSSING JORDAN. During this time, I also served as the post supervisor on a pilot for Warner Bros. Television.