Fine Cut and Locked Picture

Today’s newsletter completes our four-part series on the Stages of Post-Production.

But first, this opportunity just in from our former story consulting client Gayle Embrey, who is on the board of Aspen Film, which hosts three festivals per year. This prestigious organization is seeking a Program Coordinator. If you or someone you know is interested in this opportunity, please email info@aspenfilm.org. Kindly do not contact Gayle.

If you missed my earlier newsletters in this series, check out our valuable Logging Tips, the overlooked Assembly Cut, and Rough Cut Guidelines.

By Fine Cut stage, the film’s structure is locked. The length should be within three percent of the final TRT.

The Fine Cut should include the film’s title treatment, temp but composed music, temp narration, placeholders for every single forthcoming shot, and window dubs of archival material. (Hopefully you began researching archival licensing by rough cut stage, so you’re not slowed down here.)

Also include any special effects and micro-cutting. Cutting wise, it’s time to call on your perfectionist.

Then…it’s time for locking picture! Locked Picture means just that:  from now on there will be no more changes to the video part of your film or to the length of your timeline. You’ll layback master archival footage, composed music, and final narration.

Congratulations! You are now ready for color correction and sound mix.

At New Doc Editing, we have skilled editors who can help you at whatever stage of filmmaking you’re at. And we currently have an experienced editor available to help you navigate the Stages of Post-Production. Email me for a free consultation.