skills/film-finishing/references/DELIVERY.md

# Delivery — QC, masters, promo reframes, archive

## Technical QC — frame-by-frame, fresh eyes if possible

| Category | Look for |
|---|---|
| Visual artifacts | extra fingers, drifting objects, flicker, boiling textures, random pseudo-text on signs and screens |
| Joins | dropped frames, black frames, sound desync at seams |
| Digital errors | banding in gradients, over-compression, dead pixels |
| Titles | spelling, rights, mandatory mentions — including AI-use disclaimers where the platform or festival requires them |
| Sound | levels consistent scene to scene; nothing clipping; the bed does not swallow a line |

A QC note is either fixed (Stage 8 path on the final-res take, or a title/track
fix) or accepted in writing. The list closes before masters.

## Masters — what this surface can and cannot deliver

| Purpose | Format | On this surface |
|---|---|---|
| Streaming / online | H.264/H.265 MP4 per platform spec | yes — `picsart_media_export`, ≤1920×1920 |
| Promo / social | vertical 9:16 and square 1:1 versions | yes — reframe (below) |
| Archive master | ProRes 4444/422 HQ, max resolution | **no** — export is MP4; keep the per-shot final-res sources on Drive as the effective archive master |
| Theatrical DCP, 5.1 mixes, stems | DCP / broadcast specs | **no** — needs a post house; the handoff package is the route |

Every master variant is its own export — no credits, but a real render each —
so confirm the list with the user before rendering any of them.

## Promo reframes — 16:9 → 9:16 / 1:1

A reframe is a new composition, not a crop of convenience: re-bootstrap the locked
cut at the promo canvas (1080×1920 or 1080×1080) with `fit: "cover"` and set
`align` per shot so the subject survives the crop — faces and the action side, not
frame center. There is no subject-tracked auto-reframe on this surface (that is a
relayed platform ask); judge the crop per shot with `picsart_media_query_layout`
(free) and, where a subject moves across frame, a 2–3-frame contact-sheet
spot-check before the export — then one export per variant. A promo cut is usually also *shorter* — offer a 15–30s selects-of-selects
version rather than squeezing the whole film into a phone frame.

## The project archive — the means of production

Everything on `picsart_drive`, one project folder, duplicated wherever the user
keeps their own backups:

- All final prompts, all versions, and the generation log.
- The asset library: descriptors, reference images, the consistency registry.
- Breakdown, shotlists, the visual bible (style prefix, colour scheme and palette line, boards).
- The cut records: shot order, trims, transitions per scene (the EDL-equivalent).
- All selects at final resolution — the cut sources.
- The masters themselves.
- The rights folder: voice notes, music licensing status, AI-service terms,
  disclosure texts used in titles, and `DISCLOSURE.md` — the per-stage list of
  AI models used, written from the generation log (festival submissions
  require it; some disqualify without it).

The test of a complete archive: could a new session, given only this folder,
regenerate a broken shot, re-cut a scene, or start the sequel with the same faces?
If any answer is no, something above is missing.