The Guide to Managing Postproduction for Film, TV, and Digital Distribution, 3rd Edition

The Guide to Managing Postproduction for Film, TV, and Digital Distribution, 3rd Edition

by Barbara Clark, Susan Spohr, Dawn Higginbotham, Kumari Bakhru
Released February 2019
Publisher(s): Routledge
ISBN: 9781351056724

Read it now on the O’Reilly learning platform with a 10-day free trial.

O’Reilly members get unlimited access to books, live events, courses curated by job role, and more from O’Reilly and nearly 200 top publishers.

Start your free trial

Book description

The updated third edition of this popular book offers a clear and detailed overview of the postproduction process, showing readers how to manage each step in taking a film, TV, or media project from production to final delivery, from scheduling and budgeting through editing, sound, visual effects, and more.

Table of contents

  1. Cover
  2. Half Title
  3. Title Page
  4. Copyright Page
  5. Contents
  6. Acknowledgments
  7. Introduction
    1. Chapter 1: Scheduling
    2. Chapter 2: Budgeting
    3. Chapter 3: Digital Workflow
    4. Chapter 4: Dailies
    5. Chapter 5: Editorial
    6. Chapter 6: VFX
    7. Chapter 7: Sound
    8. Chapter 8: Mastering for Digital Cinema
    9. Chapter 9: Deliverables
    10. Chapter 10: Piracy
    11. Chapter 11: Acquisitions
    12. Chapter 12: Archiving
    13. Chapter 13: Legal
    14. Chapter 14: The Future
    15. General Overview
    16. Who Does What and for Whom?
      1. The Management Team
        1. Executive Producer/Co-Executive Producer
        2. Producer/Co-Producer
        3. Showrunner (TV/Streaming)
        4. Line Producer
        5. Production Manager
        6. Executive in Charge of Postproduction
        7. Postproduction Supervisor/Associate Producer
        8. Postproduction Coordinator
        9. Postproduction Assistant
        10. Intern
      2. The Postproduction Staff
        1. Editor
        2. Assistant Editor
        3. Sound Design Supervisor
        4. Sound Editor
        5. Music Supervisor
        6. Music Editor
        7. Music Coordinator
        8. Visual Effects Supervisor
    17. How to Use This Book
  8. 1 Scheduling
    1. Creating a Production to Postproduction Schedule
    2. Elements of the Postproduction Schedule
    3. Principal Photography
    4. Dailies
    5. Second Unit Photography
    6. Editor’s Cut
    7. Director’s Cut
    8. Producer’s Cut
    9. Temporary On-Line/Temporary Dub
    10. Network/Studio View
    11. Picture Lock
    12. Opticals/Film Titles and Graphics
    13. VFX
    14. Test Screenings
    15. Negative Cut/Conform/On-line Edit/DI
    16. Answer Print for Film Finish
    17. Spotting Music and Sound Effects
    18. ADR/Looping
    19. Scoring
    20. Color Correction/Final Color-Grading
    21. Prelay/Predub
    22. Mix/Dub
    23. Creating Foreign Tracks
    24. Delivery/Air Masters
    25. Delivery
    26. Air Date
    27. Summary
    28. Scheduling Samples
  9. 2 Budgeting
    1. Bidding vs. Estimates
    2. Line Items
    3. Negotiating
    4. Creating a Budget
      1. Getting Started
    5. A Carefully Planned Nightmare
    6. Areas to Budget
      1. Production
      2. Postproduction
    7. Understanding Costs and Bids
    8. Purchase Orders
    9. Non-Disclosure
    10. A Sample Budget
    11. Cost-of-Accounting Form Breakdown
      1. 3700 Postproduction Facility (aka Film and Digital Lab)
      2. 3800 Data Capture Cards/Stock
      3. 3900 Second Unit/VR
      4. 4000 Dailies/Hair and Makeup Tests
      5. 4400 VFX/Photographic Effects and Inserts
      6. 4601–4602 Editor and Assistant Editor
      7. 4603 Apprentice Editors
      8. 4604 Editing Bay and Equipment Rental
      9. 4700 Music Editor and Assistant/Music and Effects (M&E)
      10. 4701 Music Supervisor
      11. 4702 Composer
      12. 4703 Musicians – Score or Prescore
      13. 4704 Singers/Performers
      14. 4705 Orchestra
      15. 4706 Music Rights and Licenses
      16. 4800 Postproduction Sound
      17. 4801 Sound Editor/M&E
      18. 4802 Sound Mixer
      19. 4803–4804 ADR/Looping/Foley
      20. 4805 Final Sound Layback and Export
      21. 4806 Dubbing
      22. 4807 Foreign Delivery Requirements
      23. 4900–4906 Mastering
      24. 5000–5001 Titles/Artist/Opticals
      25. 5100 Versioning and Localization
      26. 5200 Miscellaneous Postproduction
      27. 5201 Additional Postproduction Staff
      28. 5203 Masters/Stock/Storage/Transfer/Shipping
      29. 5300 Stock Footage Use License
      30. 5400 Fringe Benefits – Postproduction
    12. A Few Additional Budget Tips
    13. Summary
  10. 3 Digital Workflow and the Film Laboratory
    1. Digital Workflow
      1. Dailies Capture/Camera Files
      2. Dailies Archiving
      3. Editing Data
      4. VFX
      5. Mastering
      6. Distribution
      7. Archiving
      8. Wrap-up
      9. Food for Thought
    2. The Film Laboratory
      1. Film Formats
      2. Two-, Three- and Four-Perf Film
      3. Aspect Ratio
      4. Negative Processing Path
      5. Processing Dailies
        1. Laboratory Processing Schedule
        2. Scheduling Film Processing
      6. Inform the Laboratory
      7. Special Handling
      8. Flashing – It’s Not What You Might Think
      9. Camera and Makeup Tests
      10. Film Cans, Bags, Cores and Blank Camera Reports
      11. Color-Correcting Dailies
      12. Film Damage
        1. Perforation/Edge Tears
        2. Scratches
        3. Fogging/Light Leaks
        4. Film Loaded in Reverse
        5. Double Exposure
        6. Camera Running Off-Speed
        7. Skiving
        8. Water Damage
        9. Density Shifts (Light Shifts)/Breathing and HMIs
        10. X-Ray Damage
        11. Laboratory Errors
        12. Stock Damage
        13. Film Weave
      13. We Just Meant to Inform, Not Frighten
      14. Creating Other Negatives and Prints
        1. Acetate vs. Estar
      15. Adding Sound
        1. Cyan and High Magenta Sound Tracks
      16. Creating YCMs
        1. What Are YCM Masters?
        2. Why Create YCM Masters?
        3. What Is the Process?
        4. Is the Result Always Positive?
        5. When Are YCMs Needed?
      17. Shipping Exposed Negative
    3. Summary
    4. Footage Conversions
  11. 4 Dailies
    1. Dropping Film at the Post Facility
    2. Camera Reports
      1. Camera Report Breakdown
    3. Shot Log Sheet
      1. Shot Log Breakdown
    4. Film-to-Digital Dailies
    5. Digital-to-Digital Dailies
    6. Framing Chart
    7. Production Audio Recording Tips
    8. Transfer Log
    9. Road Maps and the Multi-Camera Shoot
      1. Road Map
    10. Timecode
      1. Size Matters
    11. Having “Safe” Picture
      1. Title Safe
    12. Screeners
    13. Never Early Enough
    14. Troubleshooting Dailies Problems
    15. Summary
  12. 5 Editorial
    1. The Editor and Assistant Editor
    2. Off-Line Edit Bay Equipment
    3. Film Edit Room Equipment
    4. Viewing Dailies
    5. Editor’s Log and Script Notes
    6. Off-Line Editing
      1. VFX from Off-Line to On-Line
      2. Managing Editorial
      3. Stock Footage
      4. Clips
      5. Aspect Ratio – There Is No Stock Answer
      6. Editor’s Cut
      7. Director’s Cut
      8. Producer’s Cut
      9. Temporary Dub or Prelay
      10. Network/Studio View
      11. Picture Lock
      12. VFX
      13. Negative Cut (for Film Finish Shows)
    7. On-Line Editing
      1. On-Line EDL
      2. On-Line Session Requirements
      3. What the On-Line Facility Needs to Know
    8. Summary
  13. 6 VFX
    1. Open EXR
    2. DPX
    3. Framing Charts
    4. A Note on Color
    5. A Note on Dimensions: 2D or 3D
    6. The VFX Pipeline
      1. Preproduction
      2. Previsualization
      3. Production
    7. Animation
    8. Compositing
    9. Summary
  14. 7 Sound
    1. Audio Sweetening
    2. Production Sound
      1. The Sound Recordist
    3. Sound Report
      1. Sound Report Breakdown
      2. Production Sound Recording Formats
    4. Use a SmartSlate, Dummy
      1. The Dos and Don’ts of Electronic Slating
        1. Electronic Slate Gotcha 1
        2. Electronic Slate Gotcha 2
        3. Not Too Bright: Electronic Slate Gotcha 3
      2. General Slate Loss: Jumped the Gun
    5. Production Sound (Continued)
    6. Temporary Mix/Temporary Dub (Temp Mix/Temp Dub)
      1. Do You Need One?
      2. Temporary Insanity
    7. Sound Effects
    8. Sound Design Elements
    9. Sound Effects Spotting
    10. Creating Sound Effects
    11. ADR/Looping
      1. Scheduling ADR/Looping
      2. Be One Step Ahead
      3. What’s It Gonna Cost?
    12. Foley
    13. Music/Scoring
      1. Scoring Methods
        1. Electronic Method
        2. Orchestral Method
      2. Music in a Can
      3. Obtaining Music Clearances
      4. A Word of Advice
    14. Laydown
    15. Predub/Prelay
    16. Audio Mix
      1. Be Prepared
      2. How Long Should It Take?
    17. Getting the Right Mix
    18. Final Sound Masters
      1. Sample Sound Masters
    19. M&E Tracks for Animation
    20. Layback
    21. Film Prints with Sound
    22. Sound Quality and Sibilance
    23. Laugh Tracks
    24. Foreign-Language Dubbing
      1. Localization
        1. Localization File Specifications Sample
      2. Foreign-Language Digital Masters
      3. Foreign Dubbing in the United States
      4. Foreign-Language Film Prints
      5. Foreign Dubbing Materials
        1. Dubbing for Theatrical and Digital Use
      6. Anti-Piracy Issues
      7. When Do You Dub?
      8. Foreign Laugh Pass
    25. Sound Advice
  15. 8 Mastering for Digital Cinema and Film Completion
    1. What Is a DCP?
    2. DCP Is Easy as One, Two, Three Steps
      1. Compression
      2. Encryption
      3. Packaging
    3. Some Technical Specs for the Techies
    4. QC
    5. Choosing a Facility, or Not
    6. Gotchas
    7. Other Mediums
      1. MXF
      2. What Is E-Cinema?
      3. 3D Projection
      4. How Does DLP Work?
    8. Color Correction
      1. Why Color Correction Is Necessary
      2. Who, What, When
      3. How
      4. What Can Go Wrong
      5. How Long
      6. What Happens Next
      7. Can I Do It at Home?
      8. Film
      9. The Color-Blind Producer
      10. Summary
    9. Credits and Titling
      1. Credits
        1. Tips for Creating Credits
        2. Credits for Features
        3. Credits for TV 90-Minute Programs/Pilots
        4. Credits for Episodics
        5. Union Rules Regarding Credits
        6. WGA
        7. DGA
        8. SAG
        9. Choosing a Font
        10. Mine Is Bigger
        11. Red Alert
    10. Titling
      1. Title Parts
      2. Titling Requirements
    11. Textless – It’s Not a State
    12. Digital in, Film out
      1. So, What Is This Film-Out Thing?
      2. Understanding Data Resolution
      3. Film-Out Specifications
      4. The Film Recorder
      5. Sound for Film-Out
      6. 2-Pop
    13. Film Completion
      1. Film Finish
      2. Film Opticals vs. A/B Cutting
        1. Single-Strand Opticals: Fades, Dissolves and Effects
        2. A/B Opticals: Fades and Dissolves Only
        3. Choosing the Right Method
      3. Negative Cut/Negative Conform
    14. Accessibility
      1. Closed-Captioning
        1. It’s Not Just for the Hearing-Challenged
        2. Captioning Needs
        3. Sample Caption Work File Specifications
        4. Understanding Closed-Captioning in Theaters
        5. Captioning Your Master
        6. Captioning vs. Titling
      2. Subtitles
      3. Video Descriptions
      4. As-Broadcast Scripts
      5. Summary
    15. Wrap-Up
  16. 9 Deliverables
    1. A Long Labor
    2. Get the Delivery Agreement
    3. Makin’ a List and Checkin’ It Twice
    4. Know Who Gets What
    5. Network/Domestic Delivery
    6. Network Resources
    7. Network Meetings
    8. Feeding the Promotions Department
    9. Network Delivery Packet
      1. Cover Sheet
      2. Rate Card
      3. Format Sheet
      4. Delivery Requirements
        1. The Network/Studio Delivery Checklist
      5. Credit Guidelines
      6. S&P Guidelines
      7. Music Cue Sheet Instructions
      8. Technical Broadcast Specifications
      9. Framing Guidelines
      10. Making Use of the Delivery Packet
        1. Sample Delivery Duplication List
    10. Granting Access
      1. Foreign Delivery Checklist
      2. Foreign Formatting
    11. Production Company Delivery
      1. Cast/Crew Copies
      2. Technical Requirements for DVDs
      3. Production Company Delivery Checklist
      4. When the Producer Sells the Rights
        1. It Rings True
      5. When the Producer Retains the Rights
      6. Taking Stock
      7. Executive Quality
    12. Delivering
  17. 10 Piracy
    1. The Big Picture
    2. Dailies
    3. Editorial
    4. Screeners
    5. In the Theater
    6. Broadcast TV and Streaming
    7. The Little Guy
    8. How to Protect Your Content
      1. Some Things to Think About Regarding Piracy
    9. It’s a Global Issue
    10. Summary
  18. 11 Acquisitions
    1. What Is an Acquisition Title?
    2. What If You’re Just a Little Guy?
    3. Determining Delivery Elements
    4. Technical Acceptance
    5. Other Common Causes for Rejection
      1. Missing Sound Effects
      2. Production Sound Problems
      3. Film Dirt/Film Damage
      4. Electronic Cleanup and Fixes
    6. Textless
    7. Other Delivery Items
    8. Rejected Delivery Materials
      1. Written Rejection Report
      2. Common Artifacts That Cause Rejection
        1. Aliasing
        2. Macroblock or Blocking
        3. Dithering
        4. Rendering Errors
        5. Dither
      3. Other Reasons for Rejection
    9. Conditions of Acceptance
    10. Fixing Rejections
      1. Is a Fix Required?
      2. How Much Will the Fix Cost?
      3. How Long Will the Fix Take to Complete?
      4. What Needs to Be Redelivered?
    11. Acceptance
    12. Acquired Libraries
    13. Summary
  19. 12 Archiving
    1. Reasons to Archive
    2. What to Archive
    3. How to Archive
      1. Animation and VFX
    4. Where to Archive
      1. Cloud Storage
      2. Film Vaults
    5. Summary
  20. 13 Legal
    1. Worthwhile Advice
    2. Five Reasons to Check with the Lawyers
      1. Stock Footage
      2. Music
      3. Products
      4. References
      5. Film Clips
    3. Disclaimers
      1. Sample Disclaimer
    4. Is It Clear?
  21. 14 The Future
    1. The Cloud: Storage and Beyond
    2. Physical File Storage
    3. Premium Large-Format Exhibition
    4. Camera Technologies
    5. Drones
    6. LED Monitors
    7. Sound Improvements: Object-Oriented Sound
    8. Accessibility
    9. More Data
    10. VR
    11. AR
    12. 4D
    13. Multiscreen Formats
    14. Studios’ Technical Standards
    15. Conclusion
  22. Glossary
  23. Index

Product information

  • Title: The Guide to Managing Postproduction for Film, TV, and Digital Distribution, 3rd Edition
  • Author(s): Barbara Clark, Susan Spohr, Dawn Higginbotham, Kumari Bakhru
  • Release date: February 2019
  • Publisher(s): Routledge
  • ISBN: 9781351056724