By Barbara Clark, Susan Spohr
Read Online or Download Guide to Postproduction for TV and Film: Managing the Process, Second Edition PDF
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Extra info for Guide to Postproduction for TV and Film: Managing the Process, Second Edition
When your 35 mm still shots go in for processing, they take the exposed negative from your camera and make prints. If you want reprints and no longer have your original negatives, the lab makes a new negative from your prints and then makes additional prints from that new negative. In the land of television, it’s increasingly rare that negative is ever cut before the ﬁnal delivery for broadcast is made. The original negative is processed and the selected takes are transferred to videotape for the dailies transfer masters.
These added steps are the exception to the rule and are often saved for use on pilots, MOWs, and cable shows with anticipated foreign theatrical releases. This is an added expense that may not have been included in the budget at the start of the process. The money to do this may have to come from somewhere else in your budget. Network/Studio View Once the producer is satisﬁed with the “producer’s cut” videotapes of this version are delivered (on VHS or three quarter-inch [3/4≤]) and everyone waits (and waits and waits) for the network notes—usually 2 or more days later.
It can take a week or longer for the laboratory or optical house to create your optical elements. The more complicated the effect, the longer the process. For a tape ﬁnish, simple opticals can sometimes be incorporated into the on-line session. Be aware that the postproduction facility (or postproduction house) may separate out the time spent in the bay creating opticals and visual effects and charge that time at a higher rate. Double-check the breakdown of your charges before the session begins.