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You’ve finished your film, and submitted it to a ranking film festival got accepted and now you have a Film Sales Agent. Your job is far from over. Now you need to satisfy your agent that you are able to deliver the deliverables.The sooner in the production process you consider this aspect of filmmaking, the sooner you will smooth over the head-banging process of getting your film delivery requirements right.

Records and Materials

All items to be digitally delivered below shall be in the English language, unless otherwise notated.

  1. Feature Combined Continuity and Spotting List (Original Dialogue List). One (1) copy (as a PDF and in Word Perfect or Microsoft Word) in the English language, including translations of all dialogue not in English, of the complete final dialogue and action continuity script conformed to the theatrical version of the Picture containing all dialogue, narration and song vocals, with in and out time code, in a form suitable for use in connection with dubbing and subtitling the Picture and conforming exactly to the photographic action and soundtrack of the Picture.
  2. All clearances from stock footage and music, for the feature, including title material, and trailer.
  3. High Resolution Color Stills. All, but in no event less than thirty (30) high resolution digital files, including a director’s headshot. All photographs shall be suitable for use in the preparation of advertising, exhibition and publicity material for the Picture. Licensor shall deliver any and all releases from persons appearing in the photographs needed for MR’s intended use thereof as per Paragraph VI (B).
  4. All Existing Publicity Materials. One (1) copy of biographies of each member of the principal cast and production staff, synopsis and production notes in the English language, and copies of all available press clippings, press kits, EPK, flyers and other publicity material created.
  5. Poster Artwork. In High Definition and layered digital file.
  6. Final Main and End Credits. One (1) copy of the final main and end titles of the Picture as they appear in the Picture.
  7. Paid Ad Requirements and Billing Block. One (1) copy (as a PDF and in Word Perfect or Microsoft Word) of a statement of credit billings listing all cast and production credits for the theatrical, television and video complete versions of the Picture to be given in paid advertising (including posters, print and outdoor ads) with the applicable contractual language relating to such advertising, together with a layout of the advertising copy in the form of a billing block. Here you need to include addition EP and other credits.
  8. English Closed Caption File. One copy in .scc or .cap format, in perfect sync with the Feature Digital Master.
  9. **English Subtitle File. If any dialogue in Picture contains any language other than English,

one (1) copy of the time-coded English subtitle file for the Picture, in perfect sync with the

Feature Digital Master

  1. Dubbing and Subtitling Restrictions. One (1) copy of all dubbing and subtitling restrictions relating to the replacement of any artist’s voice, or any other restrictions relating to dubbing or subtitling, including the dubbing of dialogue in a language other than that in which the Picture was originally recorded.
  2. Residual Materials (If Applicable). One (1) copy of the final cast list as prepared by Licensor’s payroll company from which all residuals are to be calculated. Owner shall also provide a written statement setting forth any and all guilds which may be applicable to the Picture (i.e., SAG, WGA, DGA, IATSE, AFofM, AFTRA, DGC [Director’s Guild of Canada], etc.).
  3. Guild Approvals (If Applicable).
  • Directors Guild Credit Approval. If the Picture is produced under the jurisdiction of the Directors Guild of America (“DGA”), a letter from the DGA approving the list of screen credits for the Picture submitted to the DGA.
  • Writers Guild Credit Verification. If the Picture is produced under the jurisdiction of the Writers Guild of America (“WGA”), a copy of the Notice of Tentative Writing Credits submitted to the WGA and, if the writing credits were submitted to a WGA credit arbitration, a copy of a letter from the WGA setting forth the final writing credits as determined by the WGA Credits Committee.
  • Any other applicable guild credit approvals and/or waivers (including IATSE, etc)
  1. Music Cue Sheet. One (1) copy of the music cue sheet detailing the particulars of all music contained in the final version of the Picture, including the title of each composition; the names and addresses of the composers, publishers, and copyright owners; the usages and the number of such uses; the place of each composition showing the film footage and running time of each cue; the performing rights society involved for each composer and publisher; the percentage of ownership for each composer and publisher; and, any other information customarily set forth in music cue sheets.
  2. Summary of Music Rights. One document summarising the Territories, term and Rights licensed (including Soundtrack Rights), and if the cue is cleared for in and out of context trailer use of the Picture.
  3. Music Score. Digital delivery of any music tracks used in the Picture, unedited and undipped as delivered to audio mixer.
  4. Music License Materials. One (1) copy of each music synchronisation, master use and performance license covering each musical composition embodied in each version of the Picture. Where any music performance license is claimed to be available by blanket license from a performing rights society, Licensor may, in lieu of an individual license, provide copies certified by Licensor to be complete and accurate in all material respects, of the composer, lyricist, and publisher affiliation agreements with the applicable performing rights society and the inclusion of the subject musical composition in the performing rights society’s catalogue.
  5. Cast and Technical Personnel List. One (1) copy of a list indicating: (i) the names of the character portrayed by each cast member; and, (ii) the names of all technical personnel (including their title or assignment) involved in the production of the Picture.
  6. Service Agreements. One (1) copy of all agreements or other documents related to the engagement of all key personnel and facilities in connection with the Picture, including those for individual producer(s), the director, editor, casting director, director of photography, unit production manager, 1st and 2nd assistant directors, Union or Guild members, all actors other than crowd actors, music composer and conductor, technicians and administrative staff.
  7. Copyright and Title Reports. One (1) copy of a copyright report and one (1) copy of a title report issued within the last six (6) by an institution known within the entertainment industry to provide such services.
  8. Chain of Title Documents. Licensor shall deliver a summary of the Chain of Title, and any underlying agreements as reasonably requested, including the following documents to MR prior to the execution of this Agreement: Chain of Title Affidavit. Summarising the flow of rights.
  • Contracts. One (1) fully executed copy of any and all documents, instruments and contracts pertaining to the acquisition of all underlying materials, including all literary and/or screenplay material, upon which the Picture is based, including but not limited to, assignments, licenses, consents and releases pertaining to all works of authorship and rights under copyright, trademark and other property or third party rights purchased and/or licensed by Licensor which evidences Licensor’s chain of ownership in and to the rights granted to MR in connection with the Picture. With respect to any non‑English documents, a certified copy of the English translation thereof will be concurrently delivered to MR upon request.
  • Short Form Assignment. One (1) fully executed original copy of a Short Form Assignment executed by a duly authorised principal or officer of Owner in the presence of a Notary Public.
  • Copyright Certificates. One (1) copy of a Form PA copyright registration certificate(s) and any renewal certificate(s) for the Picture and the Underlying Material plus evidence of filing with the U.S. Copyright Office for recordation (i.e., a copy of the cover letter and payment of the filing fee or a copy of the recorded Form PA as registered with the U.S. Copyright Office).
  1. E&O Insurance Certificate. One copy of certificate naming the sales agent as an additional insured as specified in Paragraph 16.4.
  2. **Certificate of Origin. Executed by a duly authorised principal or officer of Licensor.

Feature Video and Digital Elements

Each of the following must be new, fully colour-corrected and of the highest technical quality and condition, and free of physical damage. To be delivered on hard drive with a USB 3.0 connection or digitally via Aspera (except for the Feature DCP, Licensor to provide download link).

  1. **DVD Screener – NTSC: One (1) Watermarked DVD and one (1) clean DVD, with English subtitles if there’s any dialogue in language other than English.
  2. **Blu-Ray Disc Master: One (1) clean Blu-Ray Disc, with English subtitles if there’s any dialogue in language other than English.
  3. **Feature DCP (with English Subtitles if applicable): DCP Interop JPEG2000 Digital Cinema Package, with English subtitles if any dialogue in Picture contains any language other than English.

2K format (2048×858 at 2.39 or 1998×1080 at 1.85 aspect ratio).

DCP should preferably be unencrypted, or must be delivered with a master DKDM.

  1. d) **Feature DCP (without Subtitles): DCPInterop JPEG2000 Digital Cinema Package, clean of all subtitles.

2K format (2048×858 at 2.39 or 1998×1080 at 1.85 aspect ratio).

DCP should preferably be unencrypted, or must be delivered with a master DKDM.

  1. e) **Feature HD ProRes Quicktime (without Subtitles): One (1) Apple ProRes 4:2:2 HQ (Quicktime .mov) at the appropriate screen dimensions and frame rate of the project, clean of all subtitles, on a hard drive. Most typically 1920×1080, 16×9 square pixels. Audio – Linear PCM. Audio layout: Ch.1&2 stereo full mix / Ch.3-8: 5.1 full mix. Matte with 2.35 or 1.85 letterbox masking to preserve theatrical aspect ratio.
  2. f) **Feature HD ProRes Quicktime with English subtitles (if applicable): One (1) Apple ProRes 4:2:2 HQ (Quicktime .mov) with English subtitles if any dialogue in Picture contains any language other than English, at the appropriate screen dimensions and frame rate of the project on a hard drive. Most typically 1920×1080, 16×9 square pixels. Audio – Linear PCM. Audio layout: Ch.1&2 stereo full mix / Ch.3-8: 5.1 full mix. Matte with 2.35 or 1.85 letterbox masking to preserve theatrical aspect ratio.
  3. g) **All available Audio Files. As separate discrete .wav files, including: 1 + stereo full mix, 5.1 + stereo M&E and 5.1 + stereo DME stems for the Feature.

Trailer Elements

To be delivered on hard drive with a USB 3.0 connection or digitally via Aspera (except for the Feature DCP, Licensor to provide download link).

  1. **Trailer DCP: Unencrypted DCP, both FLAT and SCOPE versions if available, and if applicable, both textless without subtitles and English-subtitled.
  2. **Trailer HD ProRes Quicktime: One (1) Apple ProRes 4:2:2 (HQ) final edit of trailer at the appropriate screen dimensions and frame rate of Film, both texted and textless versions, as well as an English-subtitled version, If applicable.
  3. **All available Audio Files: As separate discrete .wav files, including: 1 + stereo full mix, 5.1 + stereo M&E and 5.1 + stereo DME stems for the Trailer.
  4. Trailer Dialogue List, Music Cue Sheet and English subtitle file if applicable.

Deleted Scenes and Bonus Materials

  1. Deleted Scenes and/or Bonus Material Dialogue List
  2. Deleted Scenes and/or Bonus Material Music Cue Sheet and Music Clearances
  3. Deleted Scenes and/or Bonus Material Digital Master. If available, confirm with MR prior to delivery for format, but otherwise as Pro Res 4:2:2 HQ
  4. Director and/or Actor/Producer Audio Commentary. Sync’d to the appropriate frame rate to the video master.
  5. Other Bonus Material available.

About 

Photo Credit Jay Brooks / BIFA 2015

Elliot Grove is the founder of Raindance Film Festival and the British Independent Film Awards. He has produced over 700 hundred short films and also five feature films, including the multi-award-winning The Living and the Dead in 2006, Deadly Virtues in 2013 and AMBER in 2017. He teaches screenwriting and producing in the UK, Europe, Asia and America.

Raindance trailer 2017

Elliot has written three books which have become industry standards: Raindance Writers’ Lab: Write + Sell the Hot Screenplay, now in its second edition, Raindance Producers’ Lab: Lo-To-No Budget Filmmaking and Beginning Filmmaking: 100 Easy Steps from Script to Screen (Professional Media Practice).

In 2009 he was awarded a PhD for services to film education.

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