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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 | |