Friday, January 02, 2009


Here's a boring post for you. So I included a bunny. But I need this list to keep referring to.

We have a fairly hearty set of deliverables for our North American distribution on Alien Uprising. They include a bunch of things, but I'm selecting out the ones which are going to be the biggest deal for use to create. We have to deliver all these things, along with the movie itself, in about 30 days.

A legible .pdf of each document, in addition to providing originals where required:

1. Chain of title -including but not limited to: Documents from writers, authors and others vesting the story and screenplay in the name of Licensor;
Copyright Report from Thomson and Thomson or Dennis Angel no older than 60 days from the date of delivery of same to Distributor.
Title Report from Thomson or Thomson or Dennis Angel, with title opinion from Denis Angel or other approved Distributor law firm.
Copyright Registration of the Screenplay, with filing receipt if the copyright filing number is not stamped on the form.
Copyright Registration of the Film, in the name of Licensor, with filing receipt if the copyright filing number is not stamped on the form.
IF possible, please include a summary outline of the chain of title for the Film, in chronological order and listing the document and date thereof.

2. Cast and Crew Agreements – for each person listed in the billing block or main titles (as well as any type of producer, director, writer, editor, music supervisor, casting director, choreographer, production designer, costume designer, creature or effects designer or creator, composer, or director of photography, whether credited in the main titles or billing block or not). Agreements must contain provisions for: work for hire, assignment of rights, right to use name and likeness in publicity, and waiver of injunctive relief/right of termination.

3. Music – must deliver:

      1. Music cue sheet – in proper form, listing song, duration, use, publisher.

      2. Composer agreement, with list of which songs on cue sheet are composed.

      3. Synchronization and master use license for all songs (unless use license is not applicable). Licenses must contain: proper grant of rights to utilize the music in the film as contemplated by this agreement, must contain waiver of injunctive relief.

2. VIDEO ELEMENTS: PHYSICAL DELIVERY of a) NTSC 4:3: One (1) Digital Beta NTSC 4:3 (1:33:1, 720 x 480) videotape master (with 100% Q.C.) of the Film. b) High Definition Master: Not Applicable. c) NTSC Letterbox: Not Applicable. d) NTSC 16x9: One (1) Digital Beta NTSC 16x9 (2.35:1, 720 x 388) videotape master (with 100% Q.C.) of the Film.


3. DIALOGUE, MUSIC AND EFFECTS: One (1) DA88 or AIFF file six track master of the soundtrack of the Film containing separate stereo dialogue, stereo music and stereo effects tracks. If six track is not available, then one DA88 or AIFF file three track master soundtrack of the Film containing separate mono dialogue, mono music and mono effects tracks. In addition to the foregoing, the Pro Tools session stems shall be provided on a DVD-R.


7. STILLS PHYSICAL DELIVERY of either a CD containing at least 150 digital color photos (of acceptable quality/resolution), or negatives and sample positive prints, of a sufficient number of still photographs of scenes and characters in the Film suitable for use in the preparation of advertising, exploitation and publicity material for the Film, cleared for unrestricted use by Distributor.


a) Literary Materials. ACCESS to copies of the story, screenplay and final shooting script of the FILM, and other literary material relating to the FILM, including, without limitation, all preliminary drafts, treatments and continuities.


All textless titles, foreign titles, or textless sections should be recorded 2 minutes after end of program on part 2 of the D-1 or digibeta masters. The time code on the textless section should match that of the texted D-1 or digibeta source. Slate should indicate if textless materials are present.All films rated by the MPAA should have rating tags at the end of the program (NTSC only). A written 100% quality control report from the video facility approved by Distributor must be prepared for each video master described above.

e) NTSC 1/2" Cassette: Fifteen (15) NTSC 1/2" cassettes of the Feature and Trailer (full frame version only) OR thirteen (13) Region 1 DVDs (or 1/2” NTSC cassettes) and two (2) NTSC 1/2" cassettes of the Feature and Trailer (full frame version only). Cassettes should have visible time code that matches the source elements.


d) Synopsis: A brief synopsis in the English language of the story of the Film (one typewritten page in length).


h) Contracts. As requested by Distributor, from time to time, PHYSICAL DELIVERY of duplicate originals or legible copies of all agreements, licenses, waivers or other documents


j) Dialogue/Continuity PHYSICAL DELIVERY of two copies of a combined dialogue, continuity and spotting list of the theatrical version of the Film, including description of action of the Film as finally edited for release conforming to the format of release scripts used by Distributor from which such scripts may be printed. The screen footage of each reel in feet and frames shall be indicated at the end of each reel with total screen footage by reels on the front sheet. PHYSICAL DELIVERY of a continuity list of the television version, when available, of the Film including spotting for subtitles, when applicable.

k) Certificate of Origin. PHYSICAL DELIVERY of one (1) certificate of origin of the FILM, duly notarized and signed by Producer, specifying the country of origin of the FILM.

n) Final Main and End Credits. PHYSICAL DELIVERY of one (1) typewritten copy of the final main and end titles of the FILM as they appear on the original negative.

p) Aspect Ratio. PHYSICAL DELIVERY of a statement as to the aspect ratio and film stock of the Film.

q) Running Time. PHYSICAL DELIVERY of a statement of the exact running time of the Film.


Chance Shirley said...

I can't believe they still want a 4x3 master for a widescreen project. Madness.

You don't have to do a PAL conversion?

Andrew Bellware said...

I can kinda understand that from their point of view if they get a buyer who insists on 1.33:1, they don't want to be caught with their pants down and not to be able to deliver one. I'm thinking maybe some UHF station in Mexico or something like that. At this rate a peso will be worth like 30 bucks in a year so I don't wanna miss out on it! ;-)

This is just for North America so there's no PAL requirement.

That being said, this is the same distributor as the rest of the world so we will be delivering PAL elements at about the same time.