Cover image for Guide to postproduction for TV and film : managing the process
Title:
Guide to postproduction for TV and film : managing the process
Author:
Clark, Barbara, 1959-
Personal Author:
Edition:
Second edition.
Publication Information:
Amsterdam ; Boston : Focal Press, [2002]

©2002
Physical Description:
xvii, 355 pages : illustrations ; 24 cm
General Note:
Includes index.
Language:
English
Added Author:
ISBN:
9780240805061
Format :
Book

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Summary

Summary

Are you an associate producer who needs to juggle projects and vendors while keeping on top of the latest trends and formats? Or an independent filmmaker who can't afford a misstep in the crucial postproduction phase? Take a step back and get a clear overview of the process. This guide will show you how to navigate each step in taking a TV or film project from production to final delivery. Start by getting a handle on the critical issues of budgets and schedules. From there, you'll learn the smoothest way to manage dailies, sound, editing, and completion. Detailed instructions and checklists for film, video, and High Definition procedures will teach you new ways of doing things and help you avoid costly errors. The second edition is fully updated and information-packed. There is extensive new material on high definition as it affects dailies, editing, and delivery. The chapter on the film laboratory has been expanded further to include discussions on troubleshooting film damage and YCMs, which are so important in maintaining film assets. The latest information on film restoration, digital technologies, acquisitions, and a chapter on what's on the horizon round out the update.


Author Notes

Barbara Clark is the Executive Director of Technical Services at 20th Century Fox.


Table of Contents

Acknowledgmentsp. xvii
Introductionp. 1
1 Schedulingp. 17
Creating a Postproduction Schedulep. 17
Elements of the Postproduction Schedulep. 18
Summaryp. 30
Scheduling Samplesp. 30
Television vs. Theatrical Featuresp. 35
2 Budgetingp. 37
Getting Started on Your Budgetp. 38
A Carefully Planned Nightmarep. 39
Areas to Budgetp. 40
Understanding Costs and Bidsp. 40
Purchase Ordersp. 42
Sample Budgetp. 42
Film and Lab Productionp. 46
Video Productionp. 46
Second Unitp. 47
Photographic Effects and Insertsp. 47
Editorial and Projectionp. 47
Musicp. 50
Postproduction Soundp. 52
Film Laboratory and Postproductionp. 54
Titles and Opticalsp. 55
Video Postproductionp. 56
Fringe Benefits--Postproductionp. 57
The Rules of Thumbp. 57
3 Digital TV and High Definitionp. 59
The FCC's Planp. 59
Digital Television Highlightsp. 60
High Definition TVp. 62
And the Answer Isp. 65
4 The Film Laboratoryp. 67
Motion Picture Film Formatsp. 67
Three- and Four-Perf Filmp. 68
Aspect Ratiop. 68
Negative Processing Pathp. 69
Processing Dailiesp. 71
Film Damagep. 75
Creating Other Negatives and Printsp. 84
Adding Soundp. 86
Application Splashp. 88
Creating a Telecine Printp. 88
Creating Yellow/Cyan/Magenta (YCM)p. 88
Shipping Exposed Negativesp. 90
Summaryp. 92
Footage Conversionsp. 92
5 Dailiesp. 93
Dropping Film at the Laboratoryp. 94
Camera Reportsp. 95
Television Dailiesp. 100
Alternate Dailies Delivery Methodsp. 127
Troubleshooting Dailies Problemsp. 129
Image Stabilizationp. 131
Footage Calculationsp. 132
Dirt and the Film Transferp. 133
In Summaryp. 134
6 Editorial (Film Editorial and Video Off-Line Editing)p. 135
The Film Editorp. 136
Film Editingp. 136
Dailies Transfer Direct to Hard Drivep. 142
Desktop Editingp. 144
Nonlinear Editing for High Definition On-Linep. 147
B Negative and Reprintsp. 148
Stock Footagep. 148
Clipsp. 149
Editor's Cutp. 150
Director's Cutp. 150
Producer's Cutp. 151
Temporary On-Line/Temporary Dubp. 152
Network/Studio Viewp. 152
Picture Lockp. 152
Opticals/Simple Visual Effectsp. 154
Negative Cutp. 154
Summaryp. 154
7 On-Line Editingp. 157
On-Line Edit Decision List (EDL)p. 159
On-Line Session Requirementsp. 160
What the On-Line Facility Needs to Knowp. 160
The 16:9 On-Linep. 162
24p Editingp. 162
On-Line Specificationsp. 163
Summaryp. 165
8 Soundp. 167
Audio Sweeteningp. 167
Production Soundp. 170
Production Sound Continuedp. 176
Temporary Mix/Temporary Dub (Temp Mix/Temp Dub)p. 177
Laydownp. 178
Predub/Preplayp. 178
Sound Effectsp. 179
ADR/Loopingp. 182
Foleyp. 186
Music/Scoringp. 187
Audio Mix/Dubp. 188
Laybackp. 195
Music and Effects Tracks (M&E)p. 196
Foreign Language Dubbingp. 196
Foreign Language Film Printsp. 197
Foreign Language Videotape Mastersp. 197
Dubbing Materialsp. 198
Anti-Piracy Issuesp. 200
When Do You Dub?p. 201
Foreign Laugh Passp. 201
Sound Advicep. 204
9 Completionp. 205
Film Finishp. 206
Videotape Finishp. 213
Color Correctionp. 214
Color Correction for Digital Cinema Deliveryp. 218
Dirt Fixesp. 221
Video In, Film Outp. 222
Formattingp. 228
Credits and Titlingp. 231
Varispeedp. 243
Closed Captioningp. 244
V-Chipp. 248
Video Descriptionsp. 248
As-Broadcast Scriptsp. 249
Quality Controlp. 250
Standards Conversionp. 254
Negative Cut/Negative Conformp. 259
Wrap-Upp. 260
10 Deliveryp. 261
A Long Laborp. 261
Get the Delivery Agreementp. 261
Makin' a List and Checkin' It Twicep. 262
Know Who Gets Whatp. 262
Network/Domestic Deliveryp. 264
Network Resourcesp. 264
International or Foreign Deliveryp. 272
Production Company Deliveryp. 279
Deliveringp. 283
11 Legalp. 285
Worthwhile Advicep. 285
Five Reasons to Check with the Lawyersp. 286
Is It Clear?p. 290
12 Acquisitionp. 293
What Is an Acquisition Title?p. 293
Acquired Librariesp. 303
In Summaryp. 304
13 The Futurep. 305
A Little Backgroundp. 305
Oh, Digital Cinemap. 306
Universal Masteringp. 310
Digital Asset Managementp. 311
Sound Improvementsp. 313
A Small Summaryp. 313
A Bigger Summaryp. 313
In Summaryp. 315
Glossaryp. 317
Indexp. 339