EIGHTEEN PERCENT

Finishing Workflow

This document outlines the required materials and delivery specifications for conform, colour grading, and final mastering at Eighteen Percent.

Providing accurate and well organised materials ensures an efficient conform, reduces downtime, and protects creative intent throughout the finishing process.

1. Contact

Keiran Lee

Email: keiran@eighteenpercent.com.au

Phone: +61 432 614 860

For any technical queries prior to turnover, please make contact early. Mixed frame rates, speed ramps, aspect ratio changes, colour managed intermediates, or late VFX swaps should be flagged in advance to avoid delays during conform and finishing.

2. Offline Reference QuickTime

Please supply a reference QuickTime of the locked cut. This QuickTime represents the final editorial intent and is used as the primary visual reference during conform.

The reference QuickTime should:

  • Match the locked cut exactly

  • Include all opticals, transitions, speed changes, stabilisation, and reframes

  • Include any temporary VFX, composites, or split screens

  • Include guide audio for sync and creative intent

  • Display both record timecode and source timecode burn ins

The reference QuickTime is treated as the visual source of truth. A clear and accurate reference significantly reduces conform discrepancies and avoids unnecessary revision passes.

3. Edit List Delivery

Please supply an XML (preferred), AAF, or EDL that matches the reference QuickTime exactly.

Before exporting, please ensure:

  • All audio tracks are removed

  • Picture tracks only

  • Main picture on V1

  • Simple composites or blends on V2

  • Titles, supers, or burn ins on V3

  • Unused clips, disabled layers, and redundant tracks are removed where possible

A clean and logically structured timeline enables faster conform, more reliable relinking, and efficient checking of opticals and VFX shots.

4. Media Delivery

4.1 Camera Original Media

Please supply camera original media wherever possible, with original folder structure and metadata preserved. This provides maximum flexibility during grading and avoids limitations introduced by pre rendered or colour managed intermediates.

There is no need to supply:

  • Audio media

  • LUT baked or colour corrected renders, unless supplied as reference only

If camera originals are not available, this should be flagged in advance so alternatives can be discussed.

4.2 VFX Media

Please ensure:

  • Handles are included wherever possible

  • Versions are clearly labelled

  • Frame rate, resolution, and colour space are clearly noted

  • Any deviations from camera colour space are flagged in advance

Where possible, VFX deliveries should follow standard DI practice, such as linear EXR files with consistent colour management. If mattes or auxiliary passes are supplied, naming conventions should be confirmed ahead of delivery.

5. Titles and Supers

If titles or supers are part of the final delivery:

  • Supply final titles as ProRes files in Rec.709

  • Include alpha channels where required

  • Ensure timing matches the locked reference QuickTime

Alternatively, if titles need to be rebuilt during finishing:

  • Supply final text

  • Supply fonts

  • Provide a timing reference or burn in

Clear title delivery ensures consistency across HDR, SDR, and theatrical versions and avoids late stage mismatches.