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Acknowledgments | |
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Introduction | |
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Scheduling | |
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Creating a Postproduction Schedule | |
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Elements of the Postproduction Schedule | |
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Summary | |
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Scheduling Samples | |
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Television vs. Theatrical Features | |
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Budgeting | |
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Getting Started on Your Budget | |
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A Carefully Planned Nightmare | |
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Areas to Budget | |
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Understanding Costs and Bids | |
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Purchase Orders | |
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Sample Budget | |
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Film and Lab Production | |
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Video Production | |
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Second Unit | |
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Photographic Effects and Inserts | |
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Editorial and Projection | |
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Music | |
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Postproduction Sound | |
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Film Laboratory and Postproduction | |
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Titles and Opticals | |
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Video Postproduction | |
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Fringe Benefits--Postproduction | |
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The Rules of Thumb | |
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Digital TV and High Definition | |
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The FCC's Plan | |
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Digital Television Highlights | |
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High Definition TV | |
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And the Answer Is | |
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The Film Laboratory | |
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Motion Picture Film Formats | |
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Three- and Four-Perf Film | |
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Aspect Ratio | |
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Negative Processing Path | |
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Processing Dailies | |
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Film Damage | |
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Creating Other Negatives and Prints | |
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Adding Sound | |
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Application Splash | |
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Creating a Telecine Print | |
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Creating Yellow/Cyan/Magenta (YCM) | |
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Shipping Exposed Negatives | |
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Summary | |
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Footage Conversions | |
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Dailies | |
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Dropping Film at the Laboratory | |
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Camera Reports | |
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Television Dailies | |
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Alternate Dailies Delivery Methods | |
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Troubleshooting Dailies Problems | |
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Image Stabilization | |
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Footage Calculations | |
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Dirt and the Film Transfer | |
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In Summary | |
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Editorial (Film Editorial and Video Off-Line Editing) | |
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The Film Editor | |
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Film Editing | |
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Dailies Transfer Direct to Hard Drive | |
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Desktop Editing | |
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Nonlinear Editing for High Definition On-Line | |
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B Negative and Reprints | |
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Stock Footage | |
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Clips | |
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Editor's Cut | |
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Director's Cut | |
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Producer's Cut | |
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Temporary On-Line/Temporary Dub | |
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Network/Studio View | |
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Picture Lock | |
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Opticals/Simple Visual Effects | |
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Negative Cut | |
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Summary | |
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On-Line Editing | |
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On-Line Edit Decision List (EDL) | |
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On-Line Session Requirements | |
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What the On-Line Facility Needs to Know | |
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The 16:9 On-Line | |
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24p Editing | |
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On-Line Specifications | |
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Summary | |
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Sound | |
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Audio Sweetening | |
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Production Sound | |
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Production Sound Continued | |
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Temporary Mix/Temporary Dub (Temp Mix/Temp Dub) | |
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Laydown | |
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Predub/Preplay | |
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Sound Effects | |
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ADR/Looping | |
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Foley | |
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Music/Scoring | |
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Audio Mix/Dub | |
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Layback | |
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Music and Effects Tracks (M&E) | |
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Foreign Language Dubbing | |
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Foreign Language Film Prints | |
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Foreign Language Videotape Masters | |
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Dubbing Materials | |
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Anti-Piracy Issues | |
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When Do You Dub? | |
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Foreign Laugh Pass | |
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Sound Advice | |
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Completion | |
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Film Finish | |
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Videotape Finish | |
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Color Correction | |
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Color Correction for Digital Cinema Delivery | |
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Dirt Fixes | |
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Video In, Film Out | |
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Formatting | |
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Credits and Titling | |
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Varispeed | |
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Closed Captioning | |
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V-Chip | |
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Video Descriptions | |
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As-Broadcast Scripts | |
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Quality Control | |
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Standards Conversion | |
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Negative Cut/Negative Conform | |
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Wrap-Up | |
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Delivery | |
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A Long Labor | |
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Get the Delivery Agreement | |
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Makin' a List and Checkin' It Twice | |
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Know Who Gets What | |
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Network/Domestic Delivery | |
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Network Resources | |
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International or Foreign Delivery | |
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Production Company Delivery | |
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Delivering | |
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Legal | |
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Worthwhile Advice | |
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Five Reasons to Check with the Lawyers | |
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Is It Clear? | |
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Acquisition | |
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What Is an Acquisition Title? | |
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Acquired Libraries | |
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In Summary | |
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The Future | |
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A Little Background | |
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Oh, Digital Cinema | |
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Universal Mastering | |
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Digital Asset Management | |
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Sound Improvements | |
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A Small Summary | |
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A Bigger Summary | |
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In Summary | |
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Glossary | |
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Index | |