ABSTRACT
It is not necessary for PAs or continuity supervisors to understand the various possibilities for post production and some may find the following chapters hard to follow. I have included them because I am increasingly being asked questions about post production, and as many PAs now have to book the editing facilities, I hope these chapters may be helpful. Unless the programme is under the control of a post production supervisor, or one editor is going to be in charge of the whole process, off–line, on–line and track–laying, it is important to ensure that everybody involved talks to one another and agrees on the technical route to be taken before shooting starts. Otherwise, in an extreme case, it would be possible to arrive at a perfect off–line edit which cannot be related to the master material.
