There are three phases to filmmaking: pre-production generation, and postproduction. Many filmmakers are in a continuous preproduction phase. Preproduction is the point where you try to convince everyone that the movie is about to begin firing. It is the nerve wracking period where you wait for fiscal obligations to materialize and for team and cast to concur that they are going to undoubtedly turn up. 'Actual' preproduction is when you are spending cash on script development, scouting, casting and fixing team. Bottom line -- preproduction is easy. Generation, the second phase, is right after you get funding. During creation everything happens at once. The performers, camera, lights, theatrical props, program, film stock, egotism, temper tantrums, and all the remainder. Generation, although usually shown as being joyous and interesting, will likely be the worst three or two weeks of your life. Your picture is in the can. You observe and bring out the flat beer. You wake up about two days after and pass out. You are all alone. What does one do? The response, obviously, is easy. You start post production. Postproduction is the part of the procedure that intimidates people most. Remember, it is easy. Creation is massively not easy. Your first phone call will likely be for your cinematographer who, although he or she despises you, will have the ability to introduce one to several great editors. Whatever you should understand about post production and completing your picture is the thirteen measures down the page. Your function will be there and manage them by falling in for half an hour here and to hire individuals. Postproduction, I repeat, is easy. The 13 Measures of Post Production 1. Decide at an editing format You'll find two ways to do postproduction. One is the old manner -- the movie manner. Shoot on picture and edit, or splice movie on film editing gear. There aren't many filmmakers who edit this manner now. The second is the manner that is digital. Two is the manner that is new -- the method that is electronic. Get all of your rushes digitised (if shot on movie you may want them telecined, or scanned to an electronic format). The measures are pretty much exactly the same in either format. 2. Hire a graphic editor Your cinematographer might be an excellent man to request recommendations for an editor. Your script will be read by the editor and take a look at the rushes, and from these details, cut on the picture in accordance with their view of what makes the story. Given this enormous duty that is creative, before the job goes into production I like to get an editor nicely. A superb editor will guide on the kinds of shots they're going to want, and suggest on catchy postproduction problems before the movie starts. For editing a feature the regular program is 8 - 10 weeks. During now, your editor will create distinct drafts of your picture. You can find two decisions to an edit: the first when you happen to be happy with the visual images (locking image) and the second when you're happy with the audio (sound lock). 3.About two months after, the picture movie is not loose but you must improve the appearance with audio. 4. Do ADR 5. Do Foley 6. Music that is secure Do not use any popular old tune that you haven't bought the rights to. Do not even think about classical music or public domain because it will either get high-priced or it will stink. Do not use any pre-cleared CDROM music because it will not be good enough quality. 7. Do re-recording/the combination This can be called the re- the Combination or recording session. 8. Someplace in the not-too-distant future you will end up selling the rights to foreign countries to your own picture. The vendor/ buyer because country needs a sound track without dialogue that is English to allow them to dub the dialogue. So the M&E stands for only Music . and Effects In the picture I simply made, we waited until we had a deal where they demanded a - track M&E in our . instance to Germany 9. Get your names Your editing is currently done. Now what's left will be to get the final pieces needed for the solution print. The first three pieces are your six-to-eight Opening Title Cards and the Back Name Creep. These name files are subsequently added to the master track. 10. So that you can produce the picture that you'll need to create a Digital Cinema Package - so it can play in theaters a hard drive which includes the final copy of your picture encoded. 11.In order for foreign terrains to dub or subtitle your picture you'll need to create a dialogue script that has the exact time code for each bit of dialogue so the dubbing or subtitler artist understands just where to put their dialogue. 12. Get an effort picture Your effort picture is probably the first thing a festival programmer or a prospective vendor will see of your picture. The picture (with names and credits) should allow the audience understand just what your movie is about. 13. Get a preview Create a 90-120 second preview that carries feeling and the mood of your picture. Frequently distribution and programming choices will be predicated on the potency of your preview. Here is the poster preview and picture we created for our film, Deadly Virtues: Love, Honour, Obey.