Delivery Materials (US)

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.

8. Work Materials - Picture

Example contract – Micro-Budget Mentor. You should always seek advice before using any legal documents.

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 6-track 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)

Example contract – Micro-Budget Mentor. You should always seek advice before using any legal documents.

One (1) DVD 2-track Dolby SR stereo Printmaster. Sound effects shall be fully filled and in perfect synchronization with the original negative.

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.

Example contract – Micro-Budget Mentor. You should always seek advice before using any legal documents.

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 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.

Example contract – Micro-Budget Mentor. You should always seek advice before using any legal documents.

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.

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.

Example contract – Micro-Budget Mentor. You should always seek advice before using any legal documents.

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.

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

Example contract – Micro-Budget Mentor. You should always seek advice before using any legal documents.

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.

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) pre-approved for the Xxx territories

Example contract – Micro-Budget Mentor. You should always seek advice before using any legal documents.

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 “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. d. 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.

Example contract – Micro-Budget Mentor. You should always seek advice before using any legal documents.

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.

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.

Example contract – Micro-Budget Mentor. You should always seek advice before using any legal documents.

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.

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.

Example contract – Micro-Budget Mentor. You should always seek advice before using any legal documents.

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).

Example contract – Micro-Budget Mentor. You should always seek advice before using any legal documents.

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. 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.

Example contract – Micro-Budget Mentor. You should always seek advice before using any legal documents.