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Some composers score using electronic instrumentation. This is known as electronic scoring. They usually work out of their homes or in small studios. The director and producers sit with the composer several times during the postproduction process to evaluate and provide direction for the scoring. If the score is not produced electronically, you will need to book a scoring stage. Some composers hire a group of musicians and record on actual sound stages (see the “Music/Scoring” section in the “Sound” chapter).

There are no extra points for reinventing the wheel. 1 Feature Postproduction Schedule Last Day of Principal Photography Re-shoots/Pick Ups Begin Visual Effects Editor’s Cut Director’s Cut Producer’s Cut Test Audience Screening & Previews (may be several) Recut (may be several) Studio View Recut Visual Effects Completed & Cut into Work Print Picture Lock Begin Ordering Opticals Spotting Negative Cut ADR/Looping Scoring Color Correction Final Sound Mix Answer Print Interpositive Optical Track to Film Laboratory Dupe(s) Check Print(s) (composite) Delivery/Access to Distributors Release Printing Cast & Crew Screening Premier/Film Festival Insert Date Insert Date Insert Date Governed by the DGA.

From a low-contrast (locon) print, you should finish in 2 days. If the original negative was shot unevenly or the cinematographer is supervising the colorcorrection, the process may take a little longer. A tape-to-tape correction will take about as long as it takes to correct from a locon. Color correcting a one-hour episodic from negative or IP may take 1 1/2 to 2 days. From a locon print you should finish in an 8- to 10-hour day. Again, the condition of the original negative, and the original dailies film transfer, as well as the session supervisor, will affect the actual time needed.

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