Master Your Master

When dealing with your master tape for delivery to a distributor there's one rule to follow:

It has to be perfect.

That means no flash frames, color shifts, timecode drops, audio drops, contrast shifts, tape hiss, pops or anything else that says, "Bad Filmmaking". You guys know what I mean. There's nothing worse than being pulled out of the moment by some technical glitch that seemed minor when you saw it on the tape, but is magnified a thousand-fold by the DVD video compression process. Bad sound and picture says, "cheap."

The best way to ensure a great master is keep reviewing everything during post production, and make sure it's correct. In other words:

Extreme Attention To Detail.

Have your lab doing a comprehensive QC review of the master, which should cost you around $500. You do this so that you have written backup as to everything going on with your master. If someone gets a bad dupe, you can trace it back.

Audio should be configured as follows: Channel 1 - stereo composite left, Channel 2 - stereo composite right, Channel 3 - stereo left fully-filled Music and Effects, Channel 4 - stereo right fully-filled Music and Effects. This is the same audio configuration you'll use for your trailer.

Because you're working Direct to DVD you don't have to worry about making a workprint or anything else. This saves you money. If you shot on video you still have to transfer it to Digibetacam or Hi-Def tapestock- whatever your distributor prefers. The point is again, it has to be perfect because they are going to use the master to create the DVD.

This covers points 1 & 3 of Delivery.