This is an area where experience and a proven track record can really help when pitching your services to a producer, and possibaly allow you to account for a higher day rate when billing,and it's a hard train to get onto as typicaly you need to have the street cred to even get the gig, or charge so little that there's room in the post budget to fix the errors, and pay the bank charges when the show is not delviered. I flag any area's of technical concern, and what i have done to minimise them, and area's where a creative choice has been made that effects image quality,and send these notes to both the producer's and the QC facility, that helps getting the show through cleanly as well and i pass QC on the first go usualy, the only fails i've had recently have been for doggy VFX, and that's out of my hands So yea, i watch my error logging like a hawk looking for dinner. like a new BMW's worth of bank charges every month. bank charges on the money tied up in a film near delivery are substaintial, the producer does not get their MG paid out until the QC report says "PASS". the first one is allowed for, a second fail is usualy not budgeted for, not in terms of delvierables deadlines, or charges.Ī second fail is a good way to lose a client, it costs the producer too much, and end game is it's cheaper to pay more up front to get a QC pass and deliver on time. Should note i have a fair amount of buisness fixing other colorist's QC fails for a network, when the filmmaker and the colorist cannot deliver a master that passes QCĪlso note running QC costs the producer around 5k USD for a feature, you will not want to be responcable for a second fail. If the broadcaster runs the show through a error logging software, then you will have to care, and repair to meet deliverable spec, or the broadcaster will fix it and send the bill to the producer, but it will not run if it fails QC If the broadcaster does not care, then happiness abounds If you have a chroma excursion in your master timeline, then you will have that in a delvierable of any sort, ProRez, DPX whatever.
ULTRASCOPE VS SCOPEBOX TV
local tv deliveries have variable standards to meet, but i treat them the same as going to a top tier streaming service
I deliver to distb's who run shows through QC process, and yes they care very much about chroma excursions etc. I have a somewhat diffrent experience from Amada's
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