When the first offline cut is complete, and again at the fine cut, the edit should be watched on a giant screen for pacing and framing, and to look for previously unseen technical issues.

Filmmakers should also look for any unexpected physical effects the film may have on the audience, such as cuts that cause the audience to turn their heads unnaturally to follow the action, fast pans or tilts that may cause nausea, or cuts between convergence depths that cause audience discomfort. Even though a first pass at convergence may have been done in Avid Media Composer, the proof of the pudding is on the giant screen.

When a fine cut that is expected to be picture lock has been reached, best practice is to review it again on a giant screen in 3D. IMAX 3D digital projectors require DCPs mastered by IMAX Post/DKP. However, 2D DCPs, or 3D DCPs that will be played in DCI-compliant 3D theaters, can be created by other professional post facilities.

Forward to 16. Picture Locked Sequence

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