Oscar

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Spherical lenses produce a standard rectangular image. They are more affordable, more available, and easier to use. Anamorphic lenses squeeze a wider image onto the sensor and are unsqueezed in post, producing the wide cinematic aspect ratio with characteristic horizontal lens flares and oval bokeh. They define the classic Hollywood look. Require more light (wider T-stop equivalent) and more experienced operators. Aspect ratios: Spherical (Super 35): 1.85:1 (flat) or 1.78:1 (16:9) Anamorphic 2x squeeze: 2.39:1 (scope) Anamorphic 1.33x: 2.39:1 from 16:9 sensor

T1.4 — Maximum shallow DOF. Dreamy separation. Difficult to keep focus. T2.0 — Portrait work. Beautiful separation. Slightly more forgiving. T2.8 — Balanced. Good separation, manageable focus. Most common interview/drama setting. T4.0 — Deeper DOF. Easier to keep subjects in focus. Group shots. T5.6 — Deep DOF. Action sequences, multiple focal planes. T8.0+ — Maximum DOF. Documentary, news, wide establishing shots.

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1.33:1 (4:3) — Classic TV, old films, social square video 1.78:1 (16:9) — Standard HD, YouTube, streaming, broadcast 1.85:1 — American flat (theatrical) 2.00:1 — Univisium, Netflix original ratio 2.39:1 — CinemaScope / anamorphic (theatrical widescreen) 2.76:1 — Ultra Panavision (used in The Hateful Eight) 1.43:1 — IMAX original film ratio 1.90:1 — Digital IMAX ratio

RAW — Uncompressed sensor data. Maximum latitude in post. Huge files. LOG — Compressed but with wide dynamic range. Needs color grading. Rec.709 — Standard color space. What you see is what you get. Less latitude. Rec.2020 — Wide color gamut for HDR delivery. ProRes — Apple intraframe codec. Editing-friendly. High quality, large files. H.264/H.265 — Compressed delivery codecs. Small files, less editing latitude. Rule of thumb: Shoot RAW or LOG if you have a colorist and storage. Shoot Rec.709 or H.264 if you need to edit fast or have limited storage.

BOOM MICROPHONE (Shotgun) Best for: Dialogue scenes, dramatic scenes, any scene where the lav would be seen. Advantages: No physical contact with subject, natural sound quality, directional. Challenges: Requires skilled boom operator, sensitive to room acoustics and wind. Rule: Always prefer boom when possible. The sound quality is almost always better. LAVALIER (Clip mic) Best for: Documentary, interviews, situations where boom cannot reach. Advantages: Consistent level regardless of subject movement, hands-free. Challenges: Clothing rustle, placement visibility, battery management. Rule: Use lav as backup or when boom is physically impossible. DOUBLE-SYSTEM SOUND Always record to a dedicated sound recorder separate from camera. Sync in post using slate/clapper. Never rely on camera audio as primary — it introduces noise from camera motor and handling.

1. No room tone recorded — get 60 seconds of silence in every location. 2. HVAC not turned off — air conditioning ruins dialogue recordings. 3. No slate / clapper — syncing becomes a nightmare in post. 4. Lav placement under clothes without proper concealment — rustle destroys track. 5. Recording in mono — always record dual mono or stereo minimum. 6. Not monitoring through headphones — you cannot fix what you do not catch on set. 7. Music playing on set — even quiet background music locks you into a license. 8. No backup recording — always record to two sources simultaneously.

LOG vs RAW vs Rec.709 LOG: Flat, desaturated image that preserves maximum dynamic range. Looks washed out until graded. If you shoot LOG, you must grade — there is no delivering LOG footage to a client. RAW: Unprocessed sensor data. Maximum flexibility. Requires a debayer process before editing. Largest files. If your budget and workflow support it, shoot RAW. Rec.709: The standard color space for HD video. What you see on set is close to what you deliver. Less grading latitude but faster workflow. Good choice for documentary and news. COLOR TEMPERATURE ON SET Always set a manual white balance — never use auto WB. Lock it in. Daylight: 5600K Tungsten: 3200K LED panels: Check the CRI — below 90 CRI causes color problems in post Mixed sources: The most common and most difficult situation. Flag off the offending source or commit to one color temperature and correct in post. LUTS (Look-Up Tables) A LUT transforms one color space into another. Types: Technical LUT: Converts LOG to Rec.709 for monitoring on set. Not a grade. Creative LUT: Applies a stylistic look. Starting point only — not the final grade. Delivery LUT: Prepares for specific delivery format (HDR, cinema, streaming).

1. What camera and codec you shot on. 2. What LOG profile (S-Log2, S-Log3, Log-C, BRAW, etc.) 3. What the delivery format is (SDR/HDR, streaming, theatrical, broadcast). 4. Reference images — stills or frames from films with the look you want. 5. Whether you want a single consistent look or scene-by-scene work. 6. Any problem shots they need to know about before they start. The colorist is not a miracle worker — they cannot fix focus, motion blur, or severe overexposure. Protect the highlights on set.

POST PRODUCTION STAGES 1. INGESTION & ORGANIZATION Import all footage. Sync audio. Organize by scene and take. Create backups before touching anything. 2. ASSEMBLY CUT Every selected take in script order. No trimming. Just assembling. Typically 2–3x the final runtime. 3. ROUGH CUT First real edit. Scenes trimmed, story flows. May still be long. Show to director only. 4. FINE CUT Pacing tightened. Transitions refined. Music temp track added. Show to producer and close collaborators. 5. PICTURE LOCK No more editorial changes after this point. Color and sound begin. Any change after picture lock costs money and time. 6. COLOR GRADE DI (Digital Intermediate) — color correction and grading. Typically 1–3 days for short film, weeks for feature. 7. SOUND MIX Dialogue edit, ADR if needed, sound design, music mix, final mix. Deliverable: M&E track (music and effects without dialogue) for international. 8. DELIVERABLES DCP for theatrical, ProRes for festivals, H.264 for streaming. Closed captions, subtitles, dubbed versions if required.

MANUAL — VFX & SPECIAL EFFECTS IN-CAMERA VFX vs POST VFX In-camera VFX: achieved on set during principal photography. Practical effects, miniatures, forced perspective, in-camera projection, motion control, physical rigs. More expensive upfront. More reliable. Less dependent on post budget. Often more convincing. Post VFX: added or composited after photography is complete. CGI, digital environments, green screen compositing, de-aging, crowd replication, wire removal, sky replacement. Requires careful on-set planning or it fails in post. THE GOLDEN RULE OF VFX Fix it on set. The phrase "we'll fix it in post" is the most expensive sentence in filmmaking. Every VFX shot that could have been solved practically on set costs ten times more to solve in post. ON-SET VFX SUPERVISION If your film has significant VFX, hire a VFX supervisor before pre-production — not during post. They must: — Review the script and flag every VFX moment — Be present on set for all shots that will have VFX added — Ensure correct lighting references (gray balls, color charts, HDRi captures) — Oversee greenscreen/bluescreen setup and lighting — Take witness camera reference footage — Log every take that will go to the VFX team GREENSCREEN / BLUESCREEN Green: Use when the subject is not wearing green. Most common. Blue: Use when the subject is wearing green, or when shooting in daylight (blue is easier to separate from sky in natural light compositing). Rules: — Light the screen separately from your subject. Evenly. — Distance your subject at least 6 feet from the screen to avoid spill. — Green spill on skin and clothing is a compositing nightmare. — Track marks (usually X marks on the screen) help the compositor. — Shoot in the highest quality codec available. Compression destroys keys. CLEAN PLATES A clean plate is a shot of the background without the subject or any practical elements that will be removed in post. Shot at the same camera position, same lens, same lighting. Absolutely essential for: — Wire removal — Removing unwanted objects or people — Any digital set extension — Any shot where practical elements will be tracked out Shoot clean plates for every VFX shot. Always. Even if you think you won't need them. You will need them. TRACKING MARKERS If a VFX element needs to be composited into a moving shot, the compositor needs tracking data. Options: — Natural tracking points in the scene (corners, edges, high-contrast points) — Practical tracking markers (small X marks or dot stickers placed in frame) — Tracking rigs and motion control (for complex or repeat shots) Tell your VFX supervisor which shots have camera movement before the shoot. VFX BREAKDOWN DOCUMENT Before post begins, create a VFX breakdown: — Shot number and scene reference — Description of what VFX is required — Whether the shot has tracking markers or clean plate — Complexity tier: simple (wire remove), medium (composite), complex (full CG) — Assigned to: which VFX artist or company — Deadline — Status: not started / in progress / review / approved / delivered Share this with your editor. VFX shots hold up offline edits when not delivered. Lock picture before VFX begins wherever possible. FREE & LOW-COST VFX TOOLS DaVinci Resolve (free) — full color grading, basic compositing, Fusion VFX node system Blender (free) — 3D modeling, animation, rendering, compositing. Professional grade. Natron (free) — node-based compositor. Nuke-like workflow. HitFilm Express (free tier) — compositing and VFX for smaller productions. After Effects (Adobe) — industry standard compositing. Subscription. Nuke (Foundry) — industry standard for feature VFX. Expensive. Indie license available.

DOCUMENTS YOU NEED BEFORE YOU SHOOT □ Location Release — signed by property owner for every location. □ Talent Release — signed by every person who appears on screen, including extras. □ Minor Release — signed by parent or guardian for any person under 18. □ Chain of Title — documentation that you own or have rights to the story. □ Music License — sync license + master license for every piece of music used. □ Personal Property Release — for any copyrighted item that appears on screen (art, logos, brands). □ Animal Permits — required for trained animals on set in most jurisdictions. □ Drone Permit — FAA Part 107 or equivalent for commercial drone operation. □ Errors & Omissions Insurance — required by most distributors before release. MUSIC — THE MOST COMMON KILLER Never use a copyrighted song in your film without a license. You need TWO licenses for any recorded music: 1. Sync license — from the publisher / songwriter (rights to use the composition) 2. Master license — from the record label (rights to use the specific recording) Both can be expensive. Alternatives: — Commission original music — Use music libraries (Artlist, Musicbed, Epidemic Sound) — Use public domain music (pre-1928 in the US — check carefully) — Use Creative Commons licensed music FAIR USE — NOT A SHIELD Fair use is a defense, not a right. You can claim fair use but you may still be sued, and you will pay legal fees to defend the claim even if you win. Do not rely on fair use for your distribution strategy. LOGOS AND TRADEMARKS If a brand logo appears clearly on screen, you may need clearance. In documentary, incidental appearance is generally acceptable. In narrative fiction, clear prominent logo placement requires clearance or masking in post.

DELIVERY SPECIFICATIONS DCP (Digital Cinema Package) — Required for most theatrical screenings and major festivals. Resolution: 2K (2048 x 1080) or 4K (4096 x 2160) Frame rate: 24fps (standard), 48fps (HFR) Color space: XYZ (not Rec.709 — different) Audio: PCM uncompressed, 5.1 surround or stereo Subtitle: SMPTE XML format DCP creation tools: DCP-o-matic (free), easyDCP, Clipster STREAMING / FESTIVAL ONLINE SUBMISSION Most festivals now accept H.264 or H.265 at 1080p minimum via Vimeo, FilmFreeway, or direct upload. Vimeo settings: H.264, 10 Mbps, stereo or 5.1 audio Always submit the highest quality version you have. WHAT FESTIVALS LOOK FOR — Original voice and perspective — Technical competence (sound quality is evaluated as strictly as picture) — Completeness — do not submit rough cuts — Strong opening minute — programmers watch hundreds and decide fast — A clear reason this film needed to be made

MANUAL — DISTRIBUTION & DELIVERY WHAT DISTRIBUTION MEANS Distribution is the agreement that gets your finished film in front of audiences. It can mean theatrical release, streaming placement, broadcast licensing, educational distribution, or self-distribution. Most independent films use a combination. Getting a distribution offer is not the finish line — understanding the deal is. TYPES OF DISTRIBUTION Theatrical A cinema release. Requires a DCP (see delivery specs above). Most indie theatrical runs are self-booked (four-walling) or through a distributor with a minimum guarantee (MG) against future receipts. A short theatrical run creates legitimacy for all downstream deals. Streaming — SVOD (Subscription) Netflix, Amazon Prime, Apple TV+, Hulu, Disney+. These platforms have specific and strict technical delivery requirements. They do not negotiate on specs. Meet them exactly or your film is rejected. Streaming — AVOD (Ad-Supported Free) Tubi, Pluto TV, YouTube (monetized), The Roku Channel. Lower barrier to entry. Lower per-stream revenue. Good for catalogue titles and first features. Non-exclusive deals common. Streaming — TVOD (Transactional / Rent or Buy) iTunes/Apple TV, Amazon, Google Play, Vudu. Audience pays per view. Typically non-exclusive. Good supplementary revenue. Aggregators (Distribber, Bitmax, Quiver) submit to these platforms for a fee. Educational / Institutional Films with social, documentary, or educational subject matter can be licensed to universities, libraries, and organizations through distributors like Kanopy, Docuseek, or direct licensing. Often overlooked. Often profitable. Self-Distribution You own every platform relationship. You keep a higher percentage. You do all the work. Viable for filmmakers with an existing audience. Requires aggregators for most streaming platform submission. DELIVERY REQUIREMENTS — MAJOR PLATFORMS Netflix — ProRes 4444 or DNxHR 444 master, 4K preferred — Dolby Atmos or 5.1 surround audio preferred — Closed captions required (SRT or TTML) — HDR (Dolby Vision or HDR10) strongly preferred — Full deliverables package: M&E track, textless versions, closed captions Amazon Prime Video — H.264 or H.265 master, 1080p minimum / 4K preferred — Stereo or 5.1 audio — Closed captions required — Submit via Amazon Video Direct (self-service) or through aggregator Apple TV+ — ProRes master preferred — Dolby Atmos audio preferred — Closed captions required — Must submit through Apple-approved aggregator WHAT AN AGGREGATOR DOES An aggregator is a company that has direct submission relationships with streaming platforms that do not accept individual filmmaker submissions. You pay a fee (typically $200–$1,500 depending on platform package) and they deliver your film on your behalf. Common aggregators: Distribber, Bitmax, Quiver Digital, DistroKid (music only). DISTRIBUTION DEAL TERMS — WHAT TO WATCH Revenue Split Typical distributor/filmmaker split: 70/30 (distributor keeps 30%) to 50/50. SVOD often pays a flat license fee rather than a split. Always ask: is this split from gross receipts or net after expenses? Net after expenses can mean you never see money even if the film performs. Term How long does the distributor control your film? 5 years is reasonable. 7–10 years is long. Life of copyright is a red flag for an unproven distributor. Territory Is this worldwide or territory-specific? You can sell different territories to different distributors. Do not give worldwide rights for a low advance. Rights Reserved Be specific about what you are NOT giving them — theatrical, educational, airline rights, non-theatrical. Reserve what they cannot monetize effectively. Minimum Guarantee (MG) A cash advance against future royalties. A good MG means they have skin in the game. No MG means they have nothing to lose if they do nothing with your film. E&O INSURANCE Errors and Omissions insurance is required by virtually every distributor and broadcaster before they will release or broadcast your film. Budget for it. Typical cost: $1,500–$3,500 for a feature. Get it before you pitch to distributors — it signals you are a professional who has done the work.