DELIVERY MATERIALS
All materials (except where otherwise indicated) shall be physically delivered to xxx located at xxx (or its
designated laboratory) at no cost to xxx.
If any part of the feature contains non-English language dialogue, complete elements of both original
version and English subtitled versions shall be delivered, as applicable.
Xxx animated logo must be included on all feature facilities.
1. – NEGATIVE & PICTURE ELEMENTS
1.
Original Cut Negative
Access to one (1) complete 35mm original negative of the feature finally cut, edited and
assembled, with main and end titles and conformed to the final release version.
(If the film is post produced digitally – access to the 35mm DI Output Negative as above, plus
access to the original cut negative with handles used for scan transfer, the data files & hard drives
containing the completed feature AND the DTF2 / LTO back up tapes (or similar equivalent).
2.
Digital Stereo Optical Soundtrack Negative
One (1) 35mm optical soundtrack negative SR/SRD/SDDS/DTS (as applicable) of the feature.
3.
Show Print
One (1) first class technical quality 35mm composite fully timed print of the feature, assembled,
made from the Original Cut Negative (or the internegative if the film was shot in super 35) and the
Stereo Optical Sound Negative, in synchronization with and conformed to the final edited version
of the feature.
4.
Interpositive
One (1) 35mm colour corrected (one light) interpositive of the feature made from the fully
conformed, edited and assembled Original Cut Negative or DI Output Negative,
5.
Internegative
Two (2) complete 35mm colour corrected (one light), spliceless internegatives of the feature made
on Estar stock from the interpositive specified in item 4.
6.
Check Print
One (1) complete 35mm composite check print made from each internegative specified in item 5.
7.
Textless Backgrounds
a. One (1) complete 35mm first generation picture negative of all title backgrounds. Said
negative shall contain any and all photographic effects present in the titled original negative
of the feature.
b. One (1) 35mm Check Print of textless backgrounds of main and end titles and all inserts of
the feature.
c. One (1) 35mm interpositive of textless backgrounds of main and end titles and all inserts of
the feature.
Title:
Date:
8.
Work Materials - Picture
Access & loan of all original negative and positive prints / videotape of all cut-outs, trims, positive
trims, lifts and all other material photographed or recorded by Producer in connection with the
Production of the Picture. Access & loan of all ‘rushes’ on 35mm original Negative, and/or
videotape and/ or DVD. Access & loan of Firewire Drive containing all Project files connected
with the Picture. Access & loan to all source materials created during postproduction including all
photographic and non-photographic materials used to create titles, translations, captions, overlays,
opticals etc…
A fully detailed inventory to be delivered covering all the access items listed in this section.
2. - SOUND ELEMENTS: All audio masters (unless specified) to be delivered on DVD in either Protools
format 6.0 (or higher) or B Wav file format (see additional specifications at the end of schedule).
9.
Stereo Master Stems for SR/SRD/SDDS/DTS Release (as applicable) – configured as
Left/Centre/Right/Left Surround/Right Surround/Sub-woofer.
One (1) DVD 6-track or multi-track master stems:
a. complete 6-track discrete stereo (dialogue)
b. complete 6-track discrete stereo (music)
c. complete 6-track discrete stereo (effects)
10. 6-track Dolby SRD Stereo Printmaster
One (1) DVD 6-track Dolby SRD stereo magnetic Printmaster manufactured from the 6-track
stereo master stems (configured as L/C/R/LS/RS/SW).
11. 2-track Dolby SR Stereo Printmaster
One (1) DVD 2-track Dolby SR magnetic Printmaster (LT/RT) manufactured from the 6-track
stereo master stems. (This item can be added onto the same disk containing the 6trk printmaster
above).
12. Dolby Digital Magnetic Optical Disk
One (1) 6-track/2-track Dolby digital magnetic optical disk (MO Disk) manufactured from the 6track stereo master stems and suitable for the creation of Optical Soundtrack Negatives.
13. CD-ROM DTS (if applicable)
One (1) copy of the master cd-rom.
14. 6-Track Dolby SRD Stereo Music and Effects Tracks
One (1) DVD 6-track Dolby SRD stereo magnetic masters (configured as per the stem masters).
The sound effects shall be fully filled and in perfect synchronization with the original negative.
Any contentious dialogue, vocals, songs etc… that may be required for foreign dubbing should be
recorded onto a separate track alongside a separate mono guide dialogue track (trks 7&8) PLUS
One (1) DA88 6+2trk stereo M&E copy – as per the above
15. 6-track (4+2) Dolby SR Stereo Music and Effects Tracks
One (1) DVD 6-track (4+2) Dolby SR stereo magnetic master. Tracks 1-4 configured as
Left/Centre/Right/Surround. The sound effects shall be fully filled and in perfect synchronization
with the original negative. Any contentious dialogue, vocals, songs etc… that may be required for
foreign dubbing should be recorded onto a separate track alongside a separate mono guide
dialogue track (trks 5&6)
.
16. 2-Track Dolby SR Stereo Music and Effects Printmaster (LT/RT)
One (1) DVD 2-track Dolby SR stereo Printmaster. Sound effects shall be fully filled and in
perfect synchronization with the original negative.
Title:
Date:
17. 6-Track Stereo Split Trk Master (D/M/E)
One (1) DVD 6-track split track master containing separate mixed dialogue (L/R), mixed music
(L/R) and mixed sound effects (L/R).
18. 2-Track Stereo TV Final Mix & TV M&E
One (1) DVD containing 2-track stereo compressed final mix (LT/RT) and 2-track stereo
compressed fully filled music & effects (LT/RT).
NB: please see TV audio spec at the end of the schedule.
19. Source Music & Composer’s Score
One (1) DVD containing Protools sessions of the composer score and all source cues used in the
picture. This disk should contain the music without dips or fade outs – audio layout (if available)
L/C/R/LS/RS/Sub/LT/RT. PLUS delivery of One (1) copy of all source music on DAT; CD or
DVD. Plus a fully completed inlay card containing information of music titles; running times
etc…
20. Work Materials - Sound
Access & loan of all original production dialogue and other recordings in whatever format
originally recorded. Access & loan to all dialogue units and pre-dubs, all sound effects units and
pre-dubs, digital pre-dubs and all music units and pre-dubs. Access and loan to all sound dubbing
paperwork. Access & loan of all sound track cut outs, outtakes, trims and lifts in whatever format
they were originally recorded. Access & loan to all Protools sessions and audio files used for
creating each reel of every mix created for the Production.
A fully detailed inventory list to be delivered covering all the access items listed in this section.
3. – VIDEOTAPE MASTERS (see additional specifications at the end of schedule)
21. One (1) High Definition HDCamSR digital 4x3 full frame (133:1 pillarbox) master manufactured
from the theatrical 35mm interpositive or from the data files used in the digital intermediate
process with stereo full mix on ch. 1+2 and fully filled stereo music and effects on ch. 3+4. Stereo
Dolby E final mix on ch. 5+6; Stereo 5.1 final mix on ch. 7-12. Textless backgrounds are to be
added to the tail.
22. One (1) High Definition HDCamSR digital 16x9 full frame (178:1) master manufactured from the
theatrical 35mm interpositive or from the data files used in the digital intermediate process with
stereo full mix on ch. 1+2 and fully filled stereo music and effects on ch. 3+4 Dolby E final mix
on ch. 5+6; Stereo 5.1 final mix on ch. 7-12. Textless backgrounds are to be added to the tail.
23. One (1) High Definition HDCamSR digital 16x9 letterbox 185:1 or 235:1 master manufactured
from the theatrical 35mm interpositive or from the data files used in the digital intermediate
process with stereo full mix on ch. 1+2 and fully filled stereo music and effects on ch. 3+4 Dolby
E final mix on ch. 5+6; Stereo 5.1 final mix on ch. 7-12. Dolby Textless backgrounds are to be
added to the tail.
24. One (1) down-converted Digibeta NTSC 4x3 full frame master manufactured from the High
Definition D5 digital 4x3 full frame master with stereo full mix on ch. 1+2 and fully filled stereo
music and effects on ch. 3+4. Textless backgrounds are to be added to the tail.
25. One (1) down-converted Digibeta NTSC 16x9 full height anamorphic master manufactured from
the High Definition D5 digital master with stereo full mix on ch. 1+2 and fully filled stereo music
and effects on ch. 3+4. Textless backgrounds are to be added to the tail.
26. One (1) down-converted Digibeta NTSC 16x9 letterbox anamorphic master (containing the
original theatrical projection ratio) manufactured from the High Definition D5 digital master with
Title:
Date:
stereo full mix on ch. 1+2 and fully filled stereo music and effects on ch. 3+4. Textless
backgrounds are to be added to the tail.
27. One (1) down-converted Digibeta PAL 4x3 full frame master manufactured from the High
Definition D5 digital 4x3 master with stereo full mix on ch. 1+2 and fully filled stereo music and
effects on ch. 3+4. Textless backgrounds are to be added to the tail.
28. One (1) down-converted Digibeta PAL 16x9 full height anamorphic master manufactured from the
High Definition D5 digital 16x9 master with stereo full mix on ch. 1+2 and fully filled stereo
music and effects on ch. 3+4. Textless backgrounds are to be added to the tail.
29. One (1) down-converted Digibeta PAL 16x9 letterbox anamorphic master (containing the original
theatrical projection ratio) manufactured from the High Definition D5 digital master with stereo
full mix on ch. 1+2 and fully filled stereo music and effects on ch. 3+4.Textless backgrounds are
to be added to the tail.
30. DA88 6-Track Conformed Printmaster
One (1) DA88 6-track Printmaster manufactured from the 6-track stereo master. This must be in
perfect synchronization with the PAL Digital Beta Video masters above, with a matching
continuous time code.
31. DVD Screening Disks
Fifty (50) NTSC DVDR screening disks of the finished feature containing a built in time code
spoiler (BITC) positioned within Top Centre edge of picture area - made directly off the 16/9
Original Ratio Digi Beta videotape master.
4. – PUBLICITY MATERIALS
32. One (1) set of not less than 100 different images, both physical prints & negatives and electronic
versions, as well any special photography of black and white photography approved by all persons
possessing approval rights over such prints, comprising of production and portrait photographs.
Each image must be accompanied by an explanatory caption.
33. One (1) set of not less than 100 different images, both physical 35mm transparencies and
electronic versions, as well as any special photography of colour photography approved by all
persons possessing approval rights over such prints, comprising of production and portrait
photographs. Each image must be accompanied by an explanatory caption.
NB: Electronic image must be 300 dpi resolution when sized at approx 10x8 inches – each file size to be
approx 20mb).
34. Company shall have continuing free access to all original colour photography taken in respect of
the Film (with “kills” clearly designated) and may take such negatives/slides on 45 day loan if and
when required by Company (Producer to deliver an access letter in a form to be approved by
Licensor on Delivery). In no case shall Producer grant any third party exclusive access to any still
from the Film or from any shoot without written consent of Company.
35. Thirty (30) approved stills within two weeks of the start of the principal photography of the Film
for use in promotional materials for Film.
36. One (1) hard copy and one (1) electronic copy of the biographies of each of the above line actor,
writer, composer and director and key crew, with all copies of approvals of all such persons
having biographical approval.
Title:
Date:
37. One (1) hard copy and one (1) electronic copy of production notes and one copy of any and all
other publicity and advertising materials prepared by Company or any other party in connection
with the Film, including samples of one-sheet posters and individual advertising art elements and
transparencies necessary to make proofs thereof, television and radio spots and the individual
elements to make duplicates thereof.
38. One (1) copy of a long and short synopsis of the Film in English.
39. One (1) copy of any stories written by the Unit Publicist on various aspects of events during
production of the Film which are deemed by the Unit Publicist suitable for column placement and
feature stories, involving the key crew, principal cast, production personnel locations and special
interest material which may be suitable in marketing the Film, and any available published articles
and reviews of the Film.
40. One (1) EPK on digibeta, one (1) featurette, one (1) copy of all B roll, transcripts and tapes of all
interviews, tv specials, commentaries, “making of” specials and any other similar advertising
materials which shall be created by Producer in connection with the Film and suitable in all cases
for DVD “extra” material and be cleared for worldwide all media exploitation including music
used.
5. MUSIC DOCUMENTS
41. Music Cue Sheet
One (1) hard copy and One (1) electronic copy of the music cue sheet in a form approved by
Company showing all music synchronized with the Film and each Trailer, including but limited to
the titles, composers, publishers, applicable performing societies (eg. ASCAP, BMI), form of
usage (eg. instrumental, background etc.) and timings.
42. Licenses
Certified copies of signed long form synchronization licenses, master use licenses, library licenses,
and composer agreements authorizing the use of all music and lyrics for the applicable running
time in the film in perpetuity throughout the universe in all media now known or hereafter
invented, including the rights to use the music and lyrics in trailers, advertising and publicity.
Producer shall use its best efforts to clear out of context trailer advertising and publicity use. Each
such agreement shall preclude the grantor from terminating the agreement or from seeking
injunctive or other equitable relief to retain the exploitation of the Film in connection with any
breach or alleged breach of such agreement. The Producer of the Film and the Producer’s legal
counsel shall provide a notarised certificate to certify that the information delivered under this item
40 is complete and accurate.
43. Personal Services and Composer Contracts
Clear and legible copies of all agreements or other documents relating to the engagements of
music personnel in connection with the Film including, without limitation, those featured artists,
composer, music supervisors, conductors and related technicians.
44. Music Publishing Rights
Clear and legible copies of all agreements conveying to Producer the exclusive, perpetual and
worldwide right to own, copyright, administer, distribute, sell grant licenses to use and perform the
music and / or lyrics of all original musical compositions as well as the underlying background
score embodied in the soundtrack of the Film.
45. Dolby Contract
A clear and legible copy of the fully executed contract or agreement with Dolby licensing the
stereo process of the Film, and if applicable, a clear and legible copy of the agreement for the
license of SDDS and / or DTS authorising the use of such sound system.
Title:
Date:
6. – GENERAL DOCUMENTS
46. Combined Dialogue / Continuity Spotting List
One (1) hard copy and one electronic copy of the combined final dialogue action continuity and
spotting list containing all spotted dialogue, narration, sound vocals, all opening titles and end
credits appearing in the Film, as well as a cut-by-cut description of the action of the Film in its
final form, with footage and frame counts showing footage in, footage out and total duration of
each line of dialogue. If the Film or any part thereof was recorded in a language other than
English, the list shall contain a literal English translation and a spotted subtitle list.
47. Laboratory Access Letters
One (1) Laboratory Access Letter for each lab or sound facility where key elements and all access
elements hereunder are located in a form approved by Company.
48. MPAA / Title Registration
a. A certificate evidencing the rating from the Motion Picture Association of America, Inc.
(“MPAA”) Code And Rating Administration which is not more restrictive than that specified
in the Agreement. If the certificate is not available at the time of delivery, evidence of
submission and payment to CARA will be accepted until the certificate is available.
b. Evidence that the Film’s title has been registered under the rules of the MPAA Title
Registration Bureau and that, pursuant to such registration procedures, Owner has the right to
use the Film’s title.
49. Chain of Title
a. Clear and legible copies of all licenses, contracts, and assignments from the proper parties
permitting the use of any literary, dramatic and other materials of whatever nature used in the
production of the Film and all chain of title documents from the original rights holder
through to the Producer relating to Producer’s acquisition for all necessary rights in and to
the Film and any and all underlying materials upon which the Film is based.
b. One (1) recent (i.e. no more than three (3) months old) Copyright Research Report and a
recent Copyright Title Report issued by Thomson & Thomson for the Film.
50. Personal Services Contracts
Copies of fully signed writers, producers, directors, director of photography, editors, production
designers, cast, crew, production, chain of title (i.e. all agreements evidencing producer’s proper
ownership and permitting the use of any and all literary, dramatic, musical and other material used
in the production of the Film or upon which the Film and / or screenplay is based, together with
certificates of authorship and proof of payment in connection with the acquisition of the rights in
and to such material and the exercise of all options related thereto), clip, location, product
placement, and photographic release agreements. The agreement with the Director shall provide
that the Director irrevocably waives any right to object to the panning and scanning of the Film or
the editing of the Film for the purposes of television or airline exploitation world wide.
51. Negative Cost Statement
An itemized statement of the final negative cost of the Film, certified as being true, correct and
complete by an authorized officer of Producer and an independent chartered accountant and a
budget top sheet from the final budget of the Film showing the components of negative cost and
any adjustments thereto.
52. Short Form Assignment
A signed and notarised original Short Form Assignment or instrument of transfers conveying the
right to Film to Company.
Title:
Date:
53. E&O / Insurance
a. To be delivered no later than three (3) weeks prior to commencement of principal
photography on the Film, one (1) original certificate of the Errors and Omissions insurance
policy for the Film issued by a carrier approved by Xxx, fully prepaid for 3 years
commencing upon delivery of the Picture to Xxx (providing for 30 days prior written notice
to Xxx in the event of any revision, modification or cancellation), naming Xxx, its officer,
directors, employees, agents, assignees, subsidiary companies, related or affiliated
companies, shareholders and nominees as additional insureds with coverage amounts not less
than US$1,000,000 with respect to any one claim relating to the Film and US$3,000,000 with
respect to all claims relating to the Film in the aggregate, provided that the policy form
allows for defense cost to be outside the aforesaid minimums (but in the event that the
defense costs are included with the aforesaid minimums, then the policy shall be for a
minimum of US$5,000,000 with respect to any one claim relating to the Film and
US$5,000,000 with respect to all claims relating to the Film in the aggregate). The policy
shall have a deductible not to exceed US$10,000.
b. An endorsement in favour of Xxx on the policy of insurance covering the Film negative.
c. The application form delivered to the insurer on which the policy referred to in item 51a. was
based.
54. Short Form Chain of Title
Five (5) original signed and notarized short form Chain of Title in a form to be approved by
Company.
55. US Copyright Registration
a. One (1) original certificate of the United States Copyright Registration for the Film, or if not
yet available, a copy of the application thereof accompanied by the letter of transmittal to the
U.S. Copyright office.
b. One (1) original certificate of the United States Copyright Registration for the screenplay, or
if not yet available, a copy of the application thereof accompanied by the letter of transmittal
to the U.S Copyright Office.
56. Certificates of Origin
Six (6) signed and notarized original Certificates of Origin and Six (6) Certificates of Nationality
Certified by the official applicable government body in the country of origin.
57. Credits
a. One (1) complete typewritten statement and one electronic copy of screen and advertising
credits obligations, restrictions and approval rights applicable to the Film (the “Credit
Statement”) and clear and legible copies of all contracts or contractual provision pertaining to
credits pursuant to which any person or entity is entitled to receive credit on screen. The
Credit Statement shall include verification of the credits set forth therein by the appropriate
guilds.
b. One (1) typewritten copy of the final main and end title of the Film as they appear on the
original negative.
c. One (1) sample billing block (bromide and electronic, including all applicable logos) preapproved for the Xxx territories
d. One (1) typewritten statement of paid ad credit obligations applicable to the Film (the “Paid
Ad Credit Statement”) setting forth the names of and Owner’s credit obligations toward all
persons to whom Owner is contractually obligated to accord credit in connection with the
film in any paid advertising, in paperback books, on sound recordings, on videocassette
packages, etc., including wording that indicates the exact placement, wording and size of
each paid advertising credit. The Paid Ad Credit Statement shall include excerpts of any
restrictions and / or requirements regarding: I) use of names in connection with the so-called
Title:
Date:
d.
“artwork title”; and II) use of the name and / or likeness of any person rendering services in
connection with the Film. The Paid Ad Credit Statement shall include verification of the
credits set forth therein by the appropriate guilds, if applicable.
Camera-ready first class quality stats of any and all logos to appear in paid advertising.
58. Dubbing Restrictions
One (1) complete typewritten statement of any and all restrictions on dubbing the voice of any
performer, including, without limitation, dubbing dialogue in a language other than the language in
which the film was recorded.
59. Editing restrictions
One (1) complete typewritten statement setting forth all restriction on editing the Film and any
third party approval rights or restrictions such as director’s editing rights, video master
consultation and approval rights etc.
60. Stock Footage / Clips
Clear and legible copies of all valid and subsisting license agreements from all proper parties
permitting the use of any stock footage or film clips used in the Film and granting the Producer
worldwide and perpetual use of such footage.
61. IATSE Seal
If any part of the Film is produced in the United States, the seal of the International Association of
Theatrical and Stage Employees (IATSE) and a copy of Producer’s agreement to use such seal.
62. Guild
a. Guild Affiliation Statement
One (1) complete typewritten list of all union, guild or federation agreements to which
Producer is a party.
b. Screen Actors Guild (“SAG”)
If the Film was produced under the jurisdiction of SAG, Producer must deliver copies of the
SAG Final Cast Report covering all actors engaged in connection with the production of the
Film including, but not limited to all actors providing looping and voice over services.
c. Director’s Guild of America (“DGA”)
If the Film was produced under the jurisdiction of the DGA, Producer must supply the name,
social security number, loan out information and job description of all DGA members
engaged on the Film and a letter from the DGA approving I) the final list of screen credits for
the Film submitted to the DGA pursuant to Article 8-201 of the DGA Basic Agreement; and,
if appropriate, II) the credits included in the paid advertising campaign material submitted to
the DGA pursuant to Article 8-210 of the DGA Basic Agreement.
d. Writer’s Guild of America (“WGA”)
If the Film was produced under the jurisdiction of the WGA, Producer must supply the name,
social security number, loan out information of all WGA members engaged on the Film, the
Notice of Tentative Writing Credit delivered to the WGA, and if writing credits were subject
to a WGA credit arbitration, a copy of the WGA’s final determination of WGA credits on the
Film as determined by the WGA Credits Committee.
e. American Federation of Musicians (“AF of M”)
If the Film was produced under the jurisdiction of the AF of M, one (1) copy of all contracts
for all AF of M members engaged on the Film.
63. Residuals
a. One (1) letter, signed and certified to be true and correct from the Producer or the director
setting forth all domestic and foreign unions and guilds whose members rendered services of
the Film.
b. all documents and information necessary for Company to comply with all residual
obligations.
Title:
Date:
7. – WORK MATERIALS
Access to the following work materials - where the film is post produced digitally, access to the equivalent
digital materials will be substituted:
64. The original negative of all cutouts, outtakes, trims and lifts, actors screen tests, if any, and all
other materials photographed or recorded by Producer in connection with the production of the
Film together with a detailed schedule listing all such items.
65. The positive prints of all cutouts, outtakes, trims and lifts, actors screen tests, if any, and all other
materials referred to in item 64 above.
66. All soundtrack cutouts, outtakes, trims and lifts.
67. The 35mm edited work print (action) and 35mm edited work print (sound).
68. All original production dialogue or other recording, all dialogue units and pre dubs, all sound
effects units and pre dubs, all music units and pre dubs.
69. If the post production of the Film was completed electronically (e.g. videotape, video disc etc.) a
copy (both hard copy printout and computer readable media) of all Edit Decisions Lists, logs and
other databases created during post production.
70. The original lined or cutting script (with notes) prepared by the script supervisor concurrently with
the production of the Film as well as any other documents, notes, logs or reports prepared by the
script supervisor and used during post production. Delivery of final shooting script.
71. The Editor’s Code Book indicating the key negative (edge) numbers, the laboratory negative
assembly roll number, the production sound roll number for all scenes printed and delivered
during the production of the Film and also indicating the Daily Code Numbers or a copy thereof.
72. All camera reports, laboratory film reports or sound recordings and transfer reports delivered with
the Film materials during the production of the Film or a copy thereof.
73. A complete detailed inventory of all editorial film materials (film and sound) used or
manufactured during post production of the Film and indicating the contents and carton or box
number of each carton or box packed upon completion of the Film. All cartons and boxes shall be
clearly labeled with production titled, contents and carton or box number.
8. – TRAILER
74. Delivery of one (1) complete set of Trailer elements – to be discussed.
9. – TV / AIRLINE VERSION (if applicable)
Running time of the TV / Airline version cannot be less than 93 minutes in length including end credits.
75. TV / Airline Version Original Negative (Alternative takes, Cover Shots etc)
Access to the original camera & audio takes of all alternative takes, cover shots, alternative
dialogue and other material to be integrated into the TV / Airline version.
Title:
Date:
76. TV / Airline Version Videomaster
One (1) Digibeta PAL 16/9 Fullheight Anamorphic & One (1) Digi Beta Pal 4x3 full frame
videotape master with stereo sound on ch. 1+2 and fully filled stereo music and effects on ch. 3+4.
Textless backgrounds are to be added to the tail.
77. Combined Dialogue / Continuity Spotting List
One (1) hard copy and one (1) electronic copy of a combined dialogue / continuity spotting list of
the TV / Airline version.
78. Music Cue Sheet
One (1) hard copy and one (1) electronic copy of the music cue sheets for the TV / Airline version.
79. Director’s Television / Airline Version Letter
A letter from the director of the Film certifying that the Television Version Materials and Airline
Version materials delivered to Xxx hereunder were prepared under the director’s supervision and
fully satisfy all rights of approval and / or consultation accorded to the director with respect to
cutting and editing the Film for Free Television and Non-Theatrical Exhibition on airlines under
all applicable guild and union agreements and the director’s contract of engagement.
Title:
Date:
DELIVERY SPECIFICATION
Xxx reserves the right to reject any masters that fail quality assessment. In this event, the Producer shall be
liable for the cost of all the required amendments an subsequent QC reports.
Video Tape Specifications: * If English subtitles are required, please remember that both English
subtitled masters and unsubtitled masters will be required.
Each High Definition Master shall be manufactured from the 35mm I/positive, item 4 (or from the data
files used in the digital intermediate process) scanned at 1080 / 24P with the following sound configuration:
Channels 1 & 2 - Full stereo TV (compressed) Mix
Channels 3 & 4 - Full stereo TV (compressed) fully filled M&E
Channels 5 & 6 - Full stereo 5.1 Dolby E mix
Channels 7 – 12 - Full stereo 5.1 final mix
(For details of TV mix specifications, please see below)
Textless backgrounds for the main, end and insert titles shall appear sixty (60) seconds after the end of the
feature on each video master.
Please note that all High Definition masters must have identical timecodes. All video levels must be within
normal broadcast specifications (i.e. luminance should not peak over 700 mv, no sub blacks, high
chrominance).
All titles (including main titles, end titles, captions etc.. must be within the safe title area.
The first frame of picture must be on the hour (i.e. 10.00.00.00).
PAL 625 or NTSC 525 Digital Betacam
All Pal & NTSC Digi Beta masters must be down conversions made from the High Definition D5
videotape masters. All Digi Beta tapes must be supplied with the following audio configuration:
Channels 1 & 2 - Full stereo TV (compressed) Mix
Channels 3 & 4 - Full stereo TV (compressed) fully filled M&E
(For details of TV mix specifications, please see below)
Textless backgrounds for the main, end and insert titles shall appear sixty (60) seconds after the end of the
feature on each video master.
Please note that all Pal Digi masters must have identical timecodes and all NTSC Digi masters must have
identical timecodes. All video levels must be within normal broadcast specifications (i.e. luminance should
not peak over 700 mv, no sub blacks, high chrominance).
All titles (including main titles, end titles, captions etc.. must be within the safe title area.
The first frame of picture must be on the hour (i.e. 10.00.00.00 or 01.00.00.00).
If entire feature and textless material does not fit onto one tape, dub entire feature on one tape and the
textless onto a separate tape.
Title:
Date:
If a complete feature does not fit on one tape split the recording onto two tapes, making the reel break at a
natural scene change or end of a part. Part two should start at the next timecode hour (ie: 11:00:00:00) with
textless at tail.
Line-Up / Head Format:
09.56.50.00
Black
09.57.50.00
Colour bars & tone
09.58.50.00
Slate
09.59.00.00
Black
10.00.00.00
Program
Overlap requirement: No
Time code: 25fps for 625 PAL & 30fps non drop frame for 525 NTSC
VITC: lines 19&21 for 625 PAL & 17&19 in 525 NTSC
Label & slate information to contain:
Title, contents, duration, format, aspect ratio & audio configuration.
Audio Specifications
All DA88 masters must be delivered with each reel on a separate DA88 tape. However, any copy items can
be condensed down to reduce stock costs.
All DVD & DA88 masters must be delivered with a film speed of 24fps (if that is the speed at which the
film was shot) and with a time code of 25fps with tones of 1KHz @ -20dBFS and a sample frequency of
48Khz (unless requested differently). All Protools files must be format 6.0 or higher.
Each reel must be formatted in standard 2000ft reel lengths have accurate alignment tones and all head &
tail sync pops. All M&E and Printmasters MUST have EOR o/laps. All sound files must be fully labeled
detailing all track configurations.
Any 35mm sound elements delivered must be delivered with each reel on a separate reel of magnetic stock
and should contain Dolby SR noise reduction with appropriate tones & pink noise at the head of the reel.
All 35mm sound elements must run at a film speed of 24fps (if that is the speed at which the film was shot).
Special Note for item TV mix & TV m+e:
The audio line up must be recorded at 18db (PPM4) below maximum record level. Audio levels throughout
the recording must not exceed +8db (PPM6) above the line up level. As a guide, general conversation
levels should range between +/- 2db. Whispers etc.. should be around –8db. Explosions, shouts etc… must
be around but never exceed +8db. However, great care must be taken not to over compress the levels,
which could result in rejection.
Title:
Date: