The EDITORIAL Workflow - 3D Postproduction: Stereoscopic Workflows and Techniques - page 92

3.6.4.2 Cut
Another important distinction between 2D and 3D is the term “cut.” You
need to be very clear what the cut contains and what it does not contain.
This goes beyond the typical “editor's cut,” “director's cut,” and so on. For
example, does the cut contain only editorial i xes, or depth i xes as well?
Does the cut contain L/R color matching or temporary effects? Are transitions
for reference only to be completed in conform/i nishing?
3.6.4.3 Terms for Depth, Geometry and Color Issues
Given that the editorial team is the i rst to evaluate footage from production,
it is important that the team be able to identify as many actual or potential
issues as possible, even if the issues will be resolved in other workl ows.
For example, if a show has a major geometry or depth issue, it is often up
to the editorial team to be the i rst to identify it. These issues are described
in detail in the chapters for each of the workl ows.
3.6.5 Targets
Naming conventions and directory structures are key editorial targets
because both specify a standard way to identify and locate i les in the
editorial workl ow. Other targets include: total show running time,
specii cations for EDLs and editorial masters (cuts) and length of shot
handles. Targets also include milestone dates, resource amounts and quality
benchmarks. The type, amount, and value of targets will depend entirely
on your show and the resources available. Editorial targets can address
any of six process areas:
• input/output
• calibration
• monitoring/reviewing
• correction/grading
• analysis
• quality control
3.6.6 Tests
Test all elements well before postproduction begins. Remember that we
need to test for feasibility (does the tool or technique work?) and for stress
(does the tool work under the conditions of the show?) For example, a team