Frequently Asked Questions

Q: When should I start talking to West Post Digital about my project?
A: In a word, preproduction. Before you even decide on a camera, talk to us (particularly for an HD project). Understanding where you're going - aesthetically and functionally - allows us to help you make the best decisions (i.e., camera, format) for your shoot. Don't panic, though, if your project is already in the can. We are workflow experts with the gear to do some fancy conversions. But just know that we're more than happy to put in the time up front to get you to your digital destination as efficiently as possible.
Q: What is the typical turnaround for a TV show? How about a full-length feature? How can West Post finish my project quickly without blowing my budget?
A: Before we get into details, just know that we have many tricks up our sleeve and are not afraid to use 'em. Our Avid Unity means we can work on all aspects of your project in several different bays simultaneously. That said, we rarely need to employ extreme measures. Depending on variables such as color, a half hour reality show typically takes us 2 1/2- 4 days. Once we've worked together on a couple of shows in a series, it gets even more efficient on an episode-by-episode basis. A feature film takes 7-10 working days, again depending on project parameters. Our ultimate goal is to be as streamlined as possible. For example, we often make recommendations to our clients about how their assistants can organize the project so our editors spend their time editing, not organizing. That alone saves significant time and money.
Q: Speaking of budget, I need mine to be as accurate as possible. What's the key information I need to provide to West Post Digital so they can give me a tight estimate for online?
A: We always budget in a very realistic way. We recognize that our business is our clients' business, and we honor that relationship with ethical practices, great rates and, in large measure because we own our equipment, the ability to be flexible. We also hate overages as much as you do - promise. If you can answer these questions, we should be able to give you a tight budget:
  • What format and frame rate - HD or SD?
  • How many source reels?
  • How many edits in your show or video?
  • What system are you using - Avid or Final Cut Pro?
  • Does your show have a lot of lower third graphics? Are they prebuilt and ready to import or do we need to create them for you?
  • What do your credits look like - roll or cards? (Hint: Cards are less expensive and becoming more and more industry standard.)
  • How does your color look on the off-line? (That helps us gauge the level of color correction necessary.)
  • Are you going for a lot of different looks? Or are you just trying to paint it up to look as pretty as possible?
  • What's your deadline? (Hint: If you have a flexible schedule, we can work with you on rates by booking your time when our bays aren't crazy busy.)
  • Is this a one-off or an on-going project like a series? (We are happy to work with you on a package vs. per project basis.)
Q: Sometimes I find post lingo confusing. Can you set me straight?
A: One of the big problems in our industry is that so much of the terminology is inconsistent. There's a lot of confusion among those who are transitioning from the world of 4x3 - for example, what some call 16x9, others call 4x3 letterboxed. Or riddle us this: what's the difference between 1080i, 59.94 and 29.97 HD? If you answered NOTHING, you are our dream client. If you had no idea, you are still our dream client but be sure to check out our free HD Workflow Handbook to ensure that we are all speaking the same language.
Q: I'm trying to decide which is best - finishing on an Avid or Final Cut Pro – any thoughts?
A: From our perspective, both have their benefits. For a TV show with multiple cameras and editors, Avid is our pick - plus we prefer Avid's character generator tools. If you're on a budget, like an indie filmmaker, FCP is an affordable system with cost-cutting workflows. Whatever you decide for your off-line, we'll on-line at least part of your project in the same format. And either way you go, it's da Vinci all the way for color.
Q: Wait a second - did you say da Vinci for color? I thought that's a premium process - I can't afford that!
A: Hey, that's not a question, that's a statement! And we'll answer your statement with another statement: You can't afford not to use da Vinci. Since we own a fully loaded da Vinci 2K system, we consistently deliver a better product, faster and more affordably - in real time, all the time, even in HD. From our colorist, Matt Lear who has over twenty years of experience, to our da Vinci's serious power (as in three Power Windows - which is part of how our system is differentiated) you get a maximum bang for your buck. Need a scene relit? No reshoot necessary - thanks to da Vinci! Want to soften and add glamour to your leading actors? Forget the old Vaseline-on-the-lens trick - we've got you covered! For ultimate control, we turn to our da Vinci for a superior outcome every time.
Q: What kind of lollipops was Sarba Das, the producer-director of Karma Calling, referring to on the Editorial Finishing page?
A: Come take a tour of our facility and let us give you a quote for your next project. Then, and only then, can we tell you our secrets AND give you a lollipop to boot. Contact us today at edit@westpostdigital.com.