Actions for The Guide to Managing Postproduction for Film, TV, and Digital Distribution
The Guide to Managing Postproduction for Film, TV, and Digital Distribution
- Author
- Spohr, Susan J., 1955-
- Published
- Milton : Routledge, 2019.
- Edition
- 3rd ed.
- Physical Description
- 1 online resource (311 pages)
- Additional Creators
- Clark, Barbara, 1959-, Higginbotham, Dawn, and Bakhru, Kumari
Access Online
- Contents
- Cover; Half Title; Title Page; Copyright Page; Table of contents; Acknowledgments; Introduction; Chapter 1: Scheduling; Chapter 2: Budgeting; Chapter 3: Digital Workflow; Chapter 4: Dailies; Chapter 5: Editorial; Chapter 6: VFX; Chapter 7: Sound; Chapter 8: Mastering for Digital Cinema; Chapter 9: Deliverables; Chapter 10: Piracy; Chapter 11: Acquisitions; Chapter 12: Archiving; Chapter 13: Legal; Chapter 14: The Future; General Overview; Who Does What and for Whom?; The Management Team; Executive Producer/Co-Executive Producer; Producer/Co-Producer; Showrunner (TV/Streaming); Line Producer, Production ManagerExecutive in Charge of Postproduction; Postproduction Supervisor/Associate Producer; Postproduction Coordinator; Postproduction Assistant; Intern; The Postproduction Staff; Editor; Assistant Editor; Sound Design Supervisor; Sound Editor; Music Supervisor; Music Editor; Music Coordinator; Visual Effects Supervisor; How to Use This Book; 1 Scheduling; Creating a Production to Postproduction Schedule; Elements of the Postproduction Schedule; Principal Photography; Dailies; Second Unit Photography; Editor's Cut; Director's Cut; Producer's Cut; Temporary On-Line/Temporary Dub, Network/Studio ViewPicture Lock; Opticals/Film Titles and Graphics; VFX; Test Screenings; Negative Cut/Conform/On-line Edit/DI; Answer Print for Film Finish; Spotting Music and Sound Effects; ADR/Looping; Scoring; Color Correction/Final Color-Grading; Prelay/Predub; Mix/Dub; Creating Foreign Tracks; Delivery/Air Masters; Delivery; Air Date; Summary; Scheduling Samples; 2 Budgeting; Bidding vs. Estimates; Line Items; Negotiating; Creating a Budget; Getting Started; A Carefully Planned Nightmare; Areas to Budget; Production; Postproduction; Understanding Costs and Bids; Purchase Orders, Non-DisclosureA Sample Budget; Cost-of-Accounting Form Breakdown; 3700 Postproduction Facility (aka Film and Digital Lab); 3800 Data Capture Cards/Stock; 3900 Second Unit/VR; 4000 Dailies/Hair and Makeup Tests; 4400 VFX/Photographic Effects and Inserts; 4601-4602 Editor and Assistant Editor; 4603 Apprentice Editors; 4604 Editing Bay and Equipment Rental; 4700 Music Editor and Assistant/Music and Effects (M & E); 4701 Music Supervisor; 4702 Composer; 4703 Musicians -- Score or Prescore; 4704 Singers/Performers; 4705 Orchestra; 4706 Music Rights and Licenses; 4800 Postproduction Sound, and 4801 Sound Editor/M & E4802 Sound Mixer; 4803-4804 ADR/Looping/Foley; 4805 Final Sound Layback and Export; 4806 Dubbing; 4807 Foreign Delivery Requirements; 4900-4906 Mastering; 5000-5001 Titles/Artist/Opticals; 5100 Versioning and Localization; 5200 Miscellaneous Postproduction; 5201 Additional Postproduction Staff; 5203 Masters/Stock/Storage/Transfer/Shipping; 5300 Stock Footage Use License; 5400 Fringe Benefits -- Postproduction; A Few Additional Budget Tips; Summary; 3 Digital Workflow and the Film Laboratory; Digital Workflow; Dailies Capture/Camera Files; Dailies Archiving; Editing Data
- Summary
- 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. Accessibly written for producers, post supervisors, filmmakers, and students and extensively updated to address current digital and file-based industry practices, The Guide to Managing Postproduction for Film, TV, and Digital Distribution helps the reader to understand the new worlds of accessibility, deliverables, license requirements, legal considerations, and acquisitions involved in postproduction, including the ins and outs of piracy management and archiving. This edition addresses the standards for theatrical and digital distribution, network, cable and pay TV, as well as spotlights internet streaming and various delivery methods for specialty screenings, projection large format (PLF), and formats including 3D, virtual reality and augmented reality.
- Subject(s)
- ISBN
- 9781351056731
1351056735
9781351056748 (electronic bk.)
1351056743 (electronic bk.)
9781351056717 (electronic bk. ; Mobipocket)
1351056719 (electronic bk. ; Mobipocket)
9781351056724 (electronic bk. ; EPUB)
1351056727 (electronic bk. ; EPUB)
9781138482777 (hbk.)
9781138482814 (pbk.) - Note
- VFX
- Biographical or Historical Sketch
- Susan Spohr has over thirty years experience as an Associate Producer/Postproduction Supervisor. As a producer at Technicolor, Susan worked directly with both filmmakers and studios. She is credited on series, pilots, mini-series, features and more than 35 TV movies, and taught summer courses at USC School of Cinematic Arts. Barbara Clark is former Executive Director of Technical Services at 20th Century Fox, whereshe was responsible for the creation of all international and domestic syndication versions for television and feature product. She has worked in television and feature film postproduction for 25 years. Dawn Higginbotham is a writer and director of numerous award-winning short films, features, and TV shows. Her short film The Usual was featured in the 2014 Emerging Filmmaker Showcase at the Cannes Film Festival. She also worked as a Postproduction Supervisor for Dolby Laboratories and Lucasfilm on films such as Star Wars: Episodes I-III, Saving Private Ryan, and Avatar, among others. Dawn also oversaw Business & Creative Affairs as CCO of Carl Laemmle Studios. Kumari Bakhru is currently Director of Strategic Planning and Project Management for Walt Disney Studios Worldwide Motion Pictures Theatrical Distribution, and has been instrumental in bringing numerous AR, multi-screen, and interactive projects to fruition. She earned her undergraduate degree from UC Berkeley and an MA in Film and Television from UCLA.
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