DISTRIBUTION AGREEMENT

This Distribution Agreement (“Agreement”), dated March __, 2014, confirms the terms and conditions pursuant to which CPT Holdings, Inc. (“CPT”), shall acquire from Primer Plano [Primer Plano to confirm company name], with an address at [Primer Plano to insert] (“PP”), certain distribution rights in the “Program” in the “Territory” (as such terms are defined below) subject to the terms contained herein, all as set forth below.

1. Definitions . All capitalized terms set forth herein, unless elsewhere defined, shall have the following meanings:

a. “America” shall mean the fifty states of the United States of America, the District of Columbia and Puerto Rico and the territories, possessions and commonwealths of the United States of America (including the U.S. Virgin Islands and Guam), Bermuda, any territory subject to the jurisdiction of an Indian tribe or band, or Alaskan village, which is recognized by U.S. federal law or formally acknowledged by a state of the United States, ships and aircraft registered in and/or flying the flag of the United States, marine installations including oil rigs services from any jurisdiction comprising part of America as described above, military installations wherever situated at which armed forces of the United States are stationed, and any other governmental installations of the United States wherever situated throughout the universe.

b. “Authorized Languages” means English, Spanish (including neutral Spanish) and Portuguese (including Brazilian Portuguese), including all dubbed, voice-lectored and subtitled versions in such languages.

c. “Delivery Items” shall have the meaning set forth in Section 7.

d. “Final Delivery” shall mean PP’s full, final and complete delivery of (i) a complete typewritten statement of all third party screen and paid advertising credit, name and likeness, and other third party obligations, restrictions and approval rights (including all third party obligations, restrictions and approvals necessary for CPT’s creation of Local Language Versions) as further set forth in Paragraph 5 of the Legal Delivery section of Exhibit B (collectively, the “Paid Ad Restrictions”); (ii) all chain of title documents for the Program and documents necessary to establish PP’s valid copyright in the Program; and (iii) all Delivery Items for the Program; (in each case including any and all attempts to cure), such delivery to be of quality acceptable to CPT, as confirmed in writing by CPT.

e. “License Period” shall have the meaning set forth in Section 3.

f. “Program” means the live action feature length motion picture entitled “8 TIROS” that was: (i) originally produced in Spanish; (ii) directed by Bruno Hernandez, and (iii) starring Daniel Araoz, Luis Ziembrowski and Leticia Bredice.

g. “Television Rights” means the right to exhibit, distribute, market, display, transmit, broadcast, perform, transmit, reproduce, advertise, publicize, sell copies of, license, derive revenues from, rent, dispose of, communicate publicly or privately, turn to account and otherwise exploit the Program by any form of television media now known or hereafter devised or commercially exploited (including, but not limited to subscription pay television, basic television, free television, pay-per-view, on demand, video-on-demand, free-on-demand, free-video-on-demand, subscription-video-on-demand, advertising-supported on demand, near-video-on-demand, hotel/motel, non-theatrical, electronic rental, download to rent, digital rental, electronic sell-through, digital sell-through, download to own, download to burn and on demand

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retention licensing), regardless of whether or how paid for, programmed, or marketed to the viewer, and regardless of how delivered to or received by the viewer (whether by over-the-air, cable, satellite, wire, fiber, ADSL, DSL, MDS, Internet, mobile, wireless, closed circuit, or other means, method, process, or device or delivery system now known or hereafter devised, discovered, created, or developed) in all versions, resolutions, formats, and sizes, and shall, for the avoidance of doubt, include without limitation reception on television sets, personal computers, IP-enabled devices, mobile devices, and analogous devices.

h. “Territory” shall mean (i) Mexico and its territories, commonwealths, possessions and trusteeships and (ii) all countries, territories, commonwealths, possessions and trusteeships within: (A) Central America (including, without limitation: Belize, Costa Rica, El Salvador, Guatemala, Honduras, Nicaragua and Panama), (B) South America (including, without limitation: Argentina, Bolivia, Brazil, Chile, Colombia, Ecuador, French Guiana, Guyana, Paraguay, Peru, Surinam, Uruguay and Venezuela), and (C) the Caribbean Basin Islands (including, without limitation: Anguilla, Antigua and Barbuda, Aruba, the Bahamas, Barbados, Bonaire, the British Virgin Islands, the Cayman Islands, Cuba, Curacao, Dominica, Dominican Republic, Grenada, Guadeloupe, Haiti, Jamaica, Martinique, Montserrat, Saba, St. Eustatius, St Kitts & Nevis, St. Maarten, St. Lucia, St. Vincent and the Grenadines, Trinidad & Tobago and  the Turks & Caicos Islands).

2. Conditions Precedent . All of CPT’s obligations hereunder will be subject to and conditioned upon the satisfaction of all of the following:

a. Full execution and delivery to CPT of this Agreement; and

b. Final Delivery occurring no later than 1 July 2014 (the “Final Delivery Date”).

3. License Period . The “License Period” means the period commencing on the date upon which the Condition’s Precedent are satisfied and expiring ten (10) years thereafter; provided, however, that the License Period shall include an additional exclusive play-off period of six (6) months for all licenses in existence as of the last day of the License Period during which CPT may continue to exercise the Rights.

4. Rights .

a. For good and valuable consideration, the receipt and sufficiency of which is hereby acknowledged, PP hereby grants to CPT, with respect to the Program, the exclusive rights throughout the Territory and during the Program's License Period to exploit, and to sublicense others the right to exploit the Television Rights in the Program (and all of its themes, materials and other elements), in all formats now known or hereafter devised (including, without limitation, high definition, standard definition and 3D), including the right to (and cause and license others to) market, advertise, publicize, derive revenues from and otherwise exploit the Program. Additionally, for good and valuable consideration, the receipt and sufficiency of which is hereby acknowledged, PP hereby grants to CPT, with respect to the Programs, the exclusive rights in America, Chile, Colombia and Mexico, during the Program’s License Period, to exploit, and to sublicense others the right to exploit, such Program and all of its elements and materials in all formats via theatrical exhibition (through the use of any type of media including, without limitation, film, tape, digital, analog, celluloid, etc.). Without limiting the generality of the foregoing, PP hereby grants to CPT the sole, exclusive and irrevocable right to: (i) license the rights granted for the Program for exhibition on such terms as it deems appropriate, and CPT shall have complete discretion relating to the promotion and distribution of the Program; (ii) edit

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and to permit the editing of all prints of the Program to conform to time segment requirements or to the orders of any duly authorized public censorship authority and to insert commercial material at appropriate time intervals during the exhibition of the Program and to dub and subtitle and to permit the dubbing and subtitling of the Program in the Authorized Languages as it sees fit; (iii) translate the title of the Program into any language and, to the extent cultural differences necessitate that the title be changed, to change such title; (iv) manufacture and distribute, or cause to be manufactured and distributed, two-dimensional advertising, publicity and promotional materials of all types and kinds for use solely in connection with the exhibition and distribution of the Program based on the images and materials provided by PP; and (v) include CPT’s (or one or more of CPT’s affiliates, licensees or subdistributors) name, logo, trademark or emblem in such manner, position, form and substance as CPT may elect on the prints of the Program, and on all advertising and publicity material for the Program together with such words as CPT may elect indicating that the Program is being distributed by CPT or one of its subdistributors, licensees or any of its affiliates.

b. CPT hereby ackowledges that the Instituto Nacional de Cine y Artes Audiovisuales (INCAA) of Argentina, shall have the non-exclusive right to broadcast each Program solely in Argentina solely via Free Broadcast Television on INCAA TV, provided that, such exhibition rights shall not be exploited by INCAA earlier than the date which is 36 months from the beginning of the License Period for such Program, and PP shall ensure that INCAA does not exercise its television exhibition rights prior to the 36 month period set forth above.

c. Without limiting the foregoing, PP further grants to CPT the right to use and license the use of trailers, excerpts, clips supplied by PP or made by CPT and stills supplied by PP from the Program in connection with the promotion and exploitation of the Program, to collect all copyright royalties, retransmission, private copy or similar monies relating to the Program, and to use the approved names, voices and likenesses, which PP shall provide to CPT in a timely manner, of all persons who appear in, or above-the-line persons who rendered services in connection with, the production of the Program for the purpose of advertising and promoting the Program.

d. With respect to America, Chile, Colombia and/or Mexico, Primer Plano shall not, and shall not authorize any third party to, exploit any of its reserved rights in the Program, including, without limitation, all forms of home entertainment exhibition and distribution, including, all forms of video-cassette, video-disc, electronic sell-through, in-store digital download and manufacturing on-demand, at any time prior to and for a period of six-months after CPT’s initial theatrical release of the Program in such country without the prior written approval of CPT.

e. With respect to those countries of the Territory other than Chile, Colombia and/or Mexico, Primer Plano shall not, and shall not authorize any third party to, exploit any of its reserved rights in the Program prior to 1 September 2014 (including for the avoidance of doubt, the right to release the Program theatrically in Argentina).

f. PP acknowledges that any inadvertent, unavoidable, incidental and de minimus overspill of an unencrypted satellite signal outside of the Territory shall not constitute a breach of this Agreement.

g. PP shall include the following credit information in any version of the Program authorized by PP for exhibition hereunder as well as in all advertising and promotional materials authorized for exhibition or dissemination in association therewith: “[PP TO PROVIDE COPYRIGHT NOTICE].” document.docx 3

h. The rights granted to CPT in this Section 5 shall be referred to herein as the “Rights”.

5. Reserved Rights . All rights and licenses in the Program not granted to CPT hereunder (i.e., derivative, novelization, souvenir, music publishing and music soundtrack rights, merchandising, publication, commercial tie-in and/or co-promotion (unless approved in writing by PP but in no event on an exclusive basis), product placement, games, videogames, ring tones, alerts, wallpapers, screensavers, messaging applications, digital greeting cards, theme park and location based entertainment, remake, sequel, tv series, live stage/stage play, clip license rights (which excludes, for the avoidance of doubt, the right to use clips for promotional purposes as set forth in Section 5.c.), and all rights to the underlying material to the Program) are reserved by PP and may be exploited by PP without limitation or restriction by CPT except as may be set forth herein.

6. Delivery . No later than thirty (30) days after the execution of this Agreement, PP shall, at its sole cost and expense, deliver to CPT all elements, materials, documents and advertising and promotional materials set forth Exhibit B (which is attached hereto and incorporated herein by this reference), with respect to the Program (the “Delivery Items”). For the avoidance of doubt, where the original Legal Delivery items specified in Exhibit B are in a language other than English, AVF shall deliver the original item together with an English translation of the same. All Delivery Items shall be of first class technical quality suitable for the manufacture of first class broadcast quality exhibition materials of the Programs, as determined in CPT’s sole discretion. CPT shall provide notice to PP specifying any technical defect within thirty (30) days of receipt of the Delivery Items from PP. Upon such notice to PP, PP shall either (i) correct the defect and redeliver the corrected Delivery Item or (ii) deliver a replacement Delivery Item within thirty (30) days of receipt of CPT’s notice. Approval by CPT of less than all Delivery Items or any exploitation of the Program will not be deemed a waiver by CPT of PP’s obligation of complete delivery of the Program hereunder. In the event that PP, or any distributor or licensee of PP, has prepared or subsequently prepares a version of the Program dubbed and/or subtitled in any Authorized Language (“Local Language Version”), PP shall provide and CPT shall have unrestricted access to such Local Language Version at no cost, including any dubbed or subtitled tracks of the Program. In no event shall Final Delivery (including any and all attempts to cure) occur later the Final Delivery Date.

7. Third Party Payments : As between PP and CPT, PP shall be responsible for, and shall pay, all third party payments (other than performance fees for the public performance of any music contained in the Programs) that may become payable as a result of CPT’s exploitation of its rights hereunder ("Third Party Payments") including, without limitation, any residuals, reuse fees, and participations in the proceeds (net or gross) of each Program. If PP fails to make such payments, CPT shall have the right (but not the obligation) to make such Third Party Payments and may (i) deduct from amounts payable to PP hereunder any such amounts paid to third parties; and/or (ii) invoice PP for any such amounts paid to third parties.

8. Financial Terms : In full consideration of all rights herein granted by PP to CPT, the amount of One Hundred Thousand United States dollars (US$100,000.00) shall be paid by CPT to PP. CPT shall make the full payment of $100,000.00 upon the satisfaction of all the conditions set forth in Section 2, provided that no payment shall be due until CPT has received a valid invoice for such amount from PP. All payments shall be made to the following account:

[PRIMER PLANO TO INSERT BANK ADDRESS]document.docx 4

Account Name: [PRIMER PLANO TO INSERT]Account Number: [PRIMER PLANO TO INSERT]Routing Number: [PRIMER PLANO TO INSERT]Wire ABA: [PRIMER PLANO TO INSERT]Currency: USD [PRIMER PLANO TO INSERT]

9. PP’s Representations and Warranties . PP hereby covenants, warrants and represents to CPT each and all of the following.

a. The Program is protected by all the applicable copyright laws throughout the Territory and that such copyrights are and shall be valid and subsisting throughout the Territory during the Program's License Period.

b. The Program Overview information provided in the attached Exhibit C is complete and accurate.

c. The Program, when delivered to CPT and thereafter, will be free and clear of any lien, claim, charge, encumbrance, security interest, restriction, agreement, commitment or arrangement with any third party which would, in any way, interfere with, impair or adversely affect any of the Rights granted to CPT hereunder, and (other than as specifically provided in this Agreement) there are and will be no payments of any kind required to be made by CPT in respect of, or as result of, any use by CPT of such Program hereunder.

d. No rights to the Program(s) which have been granted to CPT have been exploited by PP or by any third party in any media or through any transmission means, including, without limitation, via television, theatrical, or on-demand exhibition prior to the License Period for such Program.

e. Throughout the License Period hereunder, PP will not exploit and will not authorize any third party to exploit (i) Television Rights in the Program throughout the Territory; and/or (ii) the Program by any means of theatrical exhibition in America, Chile, Colombia or Mexico; in each case whether in the Authorized Language or dubbed/subtitled in any other language.

f. The Program shall not contain any product placement or product integration, except as set forth in a letter to CPT no later than the Final Delivery Date, signed by PP, setting forth all product placement arrangements entered into in connection with the Program and the consideration provided by both the supplier (e.g., payment, free or discounted product) and the production (e.g., visible display of labels, verbal mention of brand, etc.). For any non-monetary consideration received from suppliers, PP shall provide CPT an estimate of the value of such consideration (in U.S. Dollars). PP’s letter shall be accompanied by available substantiating documentation (e.g., written agreements, confirmation letters) as well as a listing of the footage notations determined on the same basis as the “Combined Continuity, Dialogue and Spotting List” at which all such product placements are seen or heard.

g. PP has obtained all of the rights, permissions and licenses (including all music synchronization licenses) required to enable CPT to fully exploit the Program pursuant to the terms of this Agreement including, without limitation, the right to use any performers' names, voices, likenesses and biographies to advertise and promote such Program.

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h. No part of the Program (including the music contained therein) nor CPT’s exercise of any rights granted hereunder will infringe upon the trademark, tradename, copyright, right of privacy, property right or any other right of any person or entity, and no part of the Program shall contain anything defamatory, tortious or which would violate the common law, statutes or regulations of any jurisdiction.

i. To the extent the Program or any underlying property is based upon or related to, events in the life of real persons, living or dead, or portrays real persons, PP has obtained all personal releases and other rights necessary to permit CPT to exploit the Program in the manner provided herein without violating any third party rights or incurring any obligation to any third party.

j. PP has full power and authority to make this Agreement and has not done and will not do, or permit any person or entity to do, anything which would interfere with the full performance of PP's obligations or CPT’s rights hereunder; this Agreement is the legally valid and binding obligation of PP enforceable against PP in accordance with its terms; and PP is a corporation duly formed and validly existing in good standing under the laws of [PP to insert].

k. The non-dramatic performing rights to all music contained in the Program are (a) controlled by BMI, ASCAP, SOCAN, SESAC or a performing rights society having jurisdiction in the Territory; (b) in the public domain; or (c) controlled by PP (in which event such rights are hereby licensed to CPT to the extent necessary for the exercise of CPT’s rights hereunder). PP does not represent or warrant that CPT may exercise the performing rights in the music without the payment of a performing rights royalty or license fee for music falling within category (a). As between CPT and PP, CPT shall be responsible for the payment of any required performing rights royalty or license fee.

l. Compliance with the FCPA:  It is the policy of Licensor to comply and require that its licensees comply with the U.S. Foreign Corrupt Practices Act, 15 U.S.C. Section 78dd-1 and 78dd-2, and all other applicable anti-corruption laws (collectively, “FCPA”).  Licensee represents, warrants and covenants that:  (i) Licensee is aware of the FCPA and will advise all persons and parties supervised by it of the requirements of the FCPA; (ii) Licensee has not and will not, and to its knowledge, no one acting on its behalf has taken or will take any action, directly or indirectly, in violation of the FCPA; (iii) Licensee has not in the last 5 years been accused of taking any action in violation of the FCPA; (iv) Licensee has not and will not cause any party to be in violation of the FCPA; (v) should Licensee learn of, or have reason to know of, any request for payment that is inconsistent with the FCPA, Licensee shall immediately notify Licensor; and (vi) Licensee is not a “foreign official” as defined under the U.S. Foreign Corrupt Practices Act, does not represent a foreign official, and will not share any fees or other benefits of this contract with a foreign official.  Licensee will indemnify, defend and hold harmless Licensor and its Representatives for any and all liability arising from any violation of the FCPA caused or facilitated by Licensee.  In the event Licensor deems that it has reasonable grounds to suspect Licensee has violated the FCPA, Licensor and its Representatives shall have the right to review and audit, at Licensor’s expense, any and all books and financial records of Licensee at any time, and Licensor shall be entitled partially or totally to suspend its performance hereunder until such time it is proven to Licensor’s satisfaction that Licensee has not violated the FCPA.  In the event Licensor determines, in its sole discretion (whether through an audit or otherwise), that Licensee has violated the FCPA, either in connection with this Agreement or otherwise, Licensor may terminate this Agreement immediately upon written notice to Licensee.  Such suspension or termination of this Agreement shall not subject Licensor to any liability, whether in contract or tort or otherwise, to Licensee or any third party, and Licensor’s rights to document.docx 6

indemnification or audit with respect to the FCPA shall survive such suspension or termination of this Agreement.

m. All Delivery Items delivered by PP as part of delivery hereunder are complete and accurate (including for the avoidance of doubt, any English translations of the Legal Delivery items provided pursuant to Section 7 above), and CPT will incur no liability to any third party from its reliance thereon and/or compliance therewith.

n. Compliance with the Adam Walsh Act. PP warrants, represents and covenants that: (i) PP meets all of the eligibility requirements for the safe harbor certification set forth in 18 U.S.C. §2257A(h)(1) and 28 C.F.R. §75.9(a)(1)-(3); (ii) PP regularly and in the normal course of business collects and maintains, and with respect to the Programs, shall collect and maintain, individually identifiable information regarding all performers, including minor performers, employed by PP, pursuant to tax, labor, and other laws, labor agreements or otherwise pursuant to industry standards, where such information includes the name, address and date of birth of the performer, in accordance with 28 C.F.R. §75; and (iii) PP shall by the deadlines established in 28 C.F.R. §75.9(e), file with the Attorney General of the United States of America the certification provided under 18 U.S.C. §2257A(h) and 28 C.F.R. §75.9, and shall provide CPT with a true, correct and complete copy of said certification, by the earlier of: (A) within ten (10) business days of the filing of such certification with the Attorney General of the United States of America; (B) within ten (10) business days of the execution of this Agreement; or (C) upon request.

10. CPT’s Representations and Warranties . CPT hereby covenants, warrants and represents to PP it has the full power and authority to make this Agreement; this Agreement is the legally valid and binding obligation of CPT enforceable against CPT in accordance with its terms; CPT is a corporation duly formed and validly existing in good standing under the laws of the state of California.

11. Indemnification . Each party hereto (the “Indemnifying Party”) shall indemnify, defend and hold harmless the other party, and its successors, licensees, assigns, and employees, officers and directors (collectively, for the purposes of this Section, referred to as "Indemnified Party") from and against any and all liability, loss, damage, cost and expense, including, without limitation, reasonable attorneys fees (but excluding lost profits or consequential damages) arising out of any breach or alleged breach (including, in the case of PP as Indemnifying Party, a breach of PP’s delivery requirements hereunder), or claim by a third party with respect to any warranty, representation or agreement made by the Indemnifying Party herein. The Indemnified Party shall give prompt written notice to the Indemnifying Party of any claim to which the foregoing indemnification applies and the Indemnifying Party shall undertake, at its own cost and expense, the defense thereof, provided that the failure to provide such notice shall excuse the Indemnifying Party’s obligations only to the extent such failure prejudices the Indemnifying Party. The Indemnified Party may, at its option and expense, engage its own counsel. If the Indemnified Party settles or compromises any such suit, claim or proceeding, the amount thereof shall be charged to the Indemnifying Party, provided that the Indemnifying Party's approval, to be reasonably exercised, has been secured. Neither party may settle any claim or action without the prior written consent of the other party if such settlement would in any manner materially impair or inhibit the quiet enjoyment of such other party’s rights hereunder or would result in any manner of injunctive or injunctive-like relief.

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12. Default . PP shall be in default of this Agreement upon the occurrence of any of the following (collectively, the “PP Events of Default”): (i) PP fails or refuses to perform its material obligations hereunder or breaches any material provision hereof, or (ii) PP goes into receivership or liquidation, or becomes insolvent, or a petition under any bankruptcy act shall be filed by or against PP (which petition, if filed against PP, shall not have been dismissed within thirty days thereafter), or PP executes an assignment for the benefit of creditors, or PP takes advantage of any applicable insolvency, bankruptcy or reorganization or any other like or analogous statute, or experiences the occurrence of any event analogous to the foregoing. If PP fails to cure a PP Event of Default specified in (i) above that is curable within thirty (30) days from receipt of written notice from CPT of such default or immediately upon a PP Event of Default under (ii) above that is not curable under (ii) above, CPT shall have the right to immediately terminate this Agreement. PP acknowledges that the intellectual property rights and licenses in and to the Program granted to CPT herein would be governed by 11 USC Section 365(n) in the event of the commencement of a bankruptcy case by or of PP. PP acknowledges and agrees that, notwithstanding any rejection of this Agreement in any bankruptcy case, CPT may elect to continue to enjoy all exclusive rights and licenses granted in the Program for the entire License Period as provided herein.

13. Copyright . PP hereby acknowledges and agrees that the Program shall contain a copyright notice in the name of the copyright proprietor conforming to and complying with the requirements of the applicable copyright laws of the Territory, and CPT shall not remove or delete such copyright notice. Subject to PP’s prior written approval, not to be unreasonably withheld, conditioned or delayed, CPT may, in consultation with PP, in its own name or in the name of the copyright proprietor, take such steps as CPT may deem necessary or appropriate by action at law or otherwise, to prevent any unauthorized reproductions, exhibition or distribution of the Program, any infringement of the copyright of the Program or any impairment of or encumbrance on the rights granted to CPT hereunder, provided that should CPT commence any action in the name of PP, CPT shall indemnify PP against any out-of pocket costs, damages, and reasonable attorney fees. PP agrees that it shall promptly execute and deliver to CPT the Assignment of Distribution Rights Under Copyright which is attached hereto as Exhibit A and incorporated herein by this reference and that upon the request of CPT it shall promptly execute and deliver to CPT such additional documents as CPT may need in connection with the foregoing. PP hereby irrevocably appoints and designates CPT as its attorney-in-fact to exercise and file all such documents requested by CPT pursuant to this Section. This power-of-attorney is coupled with an interest.

14. Distribution . All decisions concerning the advertising, marketing, distribution and exploitation of the Program and the rights herein granted shall be under CPT’s sole and exclusive control, it being expressly understood that CPT shall not be required to exploit any of the rights granted to it hereunder. The Program will be marketed appropriately as determined in CPT’s good faith judgment, but in no event shall CPT be required to incur marketing costs. CPT makes no representation, warranty, guarantee or agreement as to the amount of receipts which may be derived from the distribution, exhibition or other exploitation of the Program and the Rights, nor does CPT guarantee the performance of any contract for the exhibition of the Program. Notwithstanding anything to the contrary contained herein, CPT shall have the right, in CPT's sole discretion, to withhold distribution of the Program or to withdraw the Program from distribution anywhere in the Territory at any time during the License Period.

15. Insurance . PP shall secure and maintain standard commercial general liability and errors and omissions liability insurance in the minimum amounts of $5,000,000 per document.docx 8

occurrence/$5,000,000 aggregate with a deductible not larger than $25,000 until four (4) years after the initial exhibition of the Program, which policy(ies) shall be endorsed to name CPT Holdings, Inc., its parents, subsidiaries, licensees, successors, and related and affiliated companies, and their officers, directors, employees, agents, representatives, assigns and its subdistributors (collectively “Beneficiaries”) as additional insureds as their interests may appear and shall contain an endorsement negating the “other insurance clause” therein, together with an endorsement that such policies are primary and that any insurance carried by the Beneficiaries is neither primary nor contributory. PP shall deliver to CPT a certificate and endorsements evidencing such insurance concurrently with the execution of this Agreement. A prior thirty (30) days notice of cancellation or non-renewal will be provided to CPT and will be shown on the certificate.

16. Notices . All notices, claims, certificates, requests, demands and other communications under this Agreement shall be made in writing and shall be delivered by hand or sent by facsimile, or sent, postage prepaid, by express mail, or reputable overnight courier service, and shall be deemed given when so delivered by hand; if faxed, on the business day of receipt as evidenced by a fax confirmation sheet, or two business days after deposit with an express mail or overnight courier to the parties at the following addresses (or at such other address for a party as shall be specified by like notice):

If to PP: [Primer Plano to insert]Attn: [Primer Plano to insert]Fax: [Primer Plano to insert]

If to CPT: CPT Holdings, Inc.c/o Sony Pictures Television International10202 West Washington BoulevardCulver City, California 90232Attn: Senior Vice President, Sales PlanningFacsimile: 1-310-244-1873

With a copy to:

Sony Pictures Entertainment10202 West Washington BoulevardCulver City, California 90232Attn: General CounselFacsimile: 1-310-244-0510

17. Governing Law/Disputes .

a. The internal laws of the State of California (as opposed to the choice of law rules) and the United States of America shall govern the validity, construction and interpretation of this Agreement, the performance by the parties of their respective obligations and all other causes of action (whether sounding in contract, in tort or arising under statute) arising out of or relating to this Agreement or to the Program.

b. All actions, proceedings, controversies and claims based upon, arising out of or resulting from this Agreement, the breach thereof or its enforcement, arbitrability (including the scope of this arbitration provision) or interpretation shall be submitted to JAMS document.docx 9

(“JAMS”) for binding arbitration under its Comprehensive Arbitration Rules and Procedures if the matter in dispute is over $250,000 or under its Streamlined Arbitration Rules and Procedures if the matter in dispute is $250,000 or less (the “Rules”). Such Arbitration shall be held solely in Los Angeles, California, in the English language. Each arbitration shall be conducted by an arbitral tribunal (the “Arbitral Board”) consisting of a single arbitrator who shall be mutually agreed upon by the parties. If the parties are unable to agree on an arbitrator, the arbitrator shall be appointed by JAMS. The arbitrator shall be a retired judge with at least ten (10) years experience in commercial matters. Except with respect to requests for interim relief, neither party shall be entitled or permitted to commence or maintain any action in a court of law with respect to any matter in dispute until such matter shall have been submitted to arbitration as herein provided and then only for the enforcement of the Arbitral Board’s award. Neither party shall challenge or resist any enforcement action taken by the arbitrator against the losing party. In addition, the prevailing party in any arbitration or legal proceeding relating to this Agreement shall be entitled to all reasonable expenses including, without limitation, reasonable attorney’s fees. Each party shall be permitted to engage in formal discovery with respect to any dispute arising out of, in connection with or related to this Agreement, the provisions of Section 1283.05 of the California Code of Civil Procedure being incorporated herein by this reference.

c. PP hereby acknowledges that the Program and the exploitation rights granted to CPT hereunder are of a special, unique, extraordinary and intellectual character which gives them a peculiar value, for the loss of which CPT cannot be reasonably or adequately compensated in damages in any action at law and that a breach of this Agreement by PP will cause CPT irreparable injury and damage. PP therefore expressly agrees that in the event of a breach or threatened breach of this Agreement by PP, CPT shall be entitled to seek injunctive and other equitable relief against PP in CPT’s discretion to end or prevent such breach and to secure enforcement of this Agreement. Resort to such equitable relief, however, shall not be construed as a waiver of any other rights or remedies which CPT may have for damages or otherwise. Notwithstanding any other provision of this Agreement, PP’s sole remedy for any breach by CPT of this Agreement shall be an action at law for damages and PP acknowledges that such damages are fully adequate to compensate PP in the case of any breach by CPT hereunder. In no event shall PP have any right to terminate this Agreement or seek or be entitled to rescission, injunctive or other equitable relief.

18. Miscellaneous Terms .

a. This Agreement constitutes the entire agreement of the parties and supersedes all prior oral or written agreements between them concerning the same subject. This Agreement may only be amended or modified by a written instrument executed by the parties to this Agreement. No failure or delay on the part of either party in exercising any of its respective rights hereunder upon any failure by the other party to perform or observe any condition, covenant or provision herein contained shall operate as a waiver thereof, nor shall any single or partial exercise of any such rights preclude any other or further exercise thereof or the exercise of any other or further exercise thereof or the exercise of any other right hereunder. Without limiting the foregoing, no payment by CPT shall constitute a waiver of any term or condition of this Agreement.

b. This Agreement may not be assigned without the prior written consent of the other party except that CPT may assign this Agreement, or any part thereof.

c. Each of the parties shall execute and deliver any further documents or instruments the other may reasonably request to carry out the intent of this Agreement.

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d. Nothing contained in this Agreement shall constitute a partnership between, or joint venture by, the parties hereto or constitute either party the agent of the other. Neither party shall hold itself out contrary to the terms of this Agreement and neither party shall become liable by reason of any representation, act or omission of the other contrary to the provisions hereof.

e. Nothing expressed or referred to in this Agreement is intended or shall be construed to give any person or entity, other than the parties to this Agreement, or their permitted successors and assigns, any legal or equitable right, remedy or claim under or in respect thereof or any provision contained herein, it being the intention of the parties that this Agreement is for the sole and exclusive benefit of such parties, and any permitted successors and assigns of this Agreement and for the benefit of no other person or entity.

f. The section headings contained in this Agreement are for reference purposes only and shall not in any way affect the meaning or interpretation of this Agreement.

g. This Agreement and all of its terms shall be confidential, and each party agrees that, except as may be required by law, it shall not make any disclosures with regard thereto without the prior written approval of the non-disclosing party.

h. If any provision of this Agreement, or any covenant, obligation or agreement contained herein is determined by a court of competent jurisdiction to be invalid or unenforceable, such determination shall not affect any other provision, covenant, obligation or agreement, each of which shall be construed and enforced as if such invalid or unenforceable provision were not contained herein. Such invalidity or unenforceability shall not affect any valid and enforceable application thereof, and each such provision, covenant, obligation or agreement, shall be deemed to be effective, operative, made, entered into or taken in the matter and to the full extent permitted by law.

i. In the event of the occurrence of an event of force majeure which materially interferes with the production or delivery of the Program or with the rendition of PP’s material obligations hereunder, CPT shall have the right to suspend this Agreement and shall have the right, but not the obligation, to extend this Agreement by the length of any such suspension.

IN WITNESS WHEREOF, the parties hereto have caused this Agreement to be executed by a duly authorized representative as of the date first set forth above.

CPT HOLDINGS, INC. PRIMER PLANO

By:

Its:

By:

Its:

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EXHIBIT AASSIGNMENT OF DISTRIBUTION RIGHTS

UNDER COPYRIGHT

For good and valuable consideration, the receipt of which is hereby acknowledged, the undersigned, Primer Plano (“PP”), hereby licenses, grants, transfers and assigns to

CPT Holdings, Inc.

aka “CPT” (a California corporation) and its successors and assigns (“Distributor”), the sole and exclusive right, under copyright, to exhibit, distribute, market, advertise, license or otherwise exploit the following feature length motion picture (“Program”) for the License Period as defined below, (i) throughout the Territory by any means of television exhibition, including, without limitation, free broadcast television, basic television, subscription pay television, on-demand distribution, including, without limitation, free-on-demand, video-on-demand, subscription-video-on-demand, as well as pay-per-view, howsoever delivered; and/or (ii) by means of theatrical exhibition in America, Chile, Colombia and Mexico:

Title of Program: 8 TIROS

Territory: “America” means the fifty states of the United States of America, the

District of Columbia and Puerto Rico and the territories, possessions and commonwealths of the United States of America (including the U.S. Virgin Islands and Guam), Bermuda, any territory subject to the jurisdiction of an Indian tribe or band, or Alaskan village, which is recognized by U.S. federal law or formally acknowledged by a state of the United States, ships and aircraft registered in and/or flying the flag of the United States, marine installations including oil rigs services from any jurisdiction comprising part of America as described above, military installations wherever situated at which armed forces of the United States are stationed, and any other governmental installations of the United States wherever situated throughout the universe; and

Mexico and its territories, commonwealths, possessions and trusteeships and (ii) all countries, territories, commonwealths, possessions and trusteeships within: (A) Central America (including, without limitation: Belize, Costa Rica, El Salvador, Guatemala, Honduras, Nicaragua and Panama), (B) South America (including, without limitation: Argentina, Bolivia, Brazil, Chile, Colombia, Ecuador, French Guiana, Guyana, Paraguay, Peru, Surinam, Uruguay and Venezuela), and (C) the Caribbean Basin Islands (including, without limitation: Anguilla, Antigua and Barbuda, Aruba, the Bahamas, Barbados, Bonaire, the British Virgin Islands, the Cayman Islands, Cuba, Curacao, Dominica, Dominican Republic, Grenada, Guadeloupe, Haiti, Jamaica, Martinique, Montserrat, Saba, St. Eustatius, St Kitts & Nevis, St. Maarten, St. Lucia, St. Vincent and the Grenadines, Trinidad & Tobago and  the Turks & Caicos Islands)

License Period: Commences on [parties to insert the date upon which the Condition’s Precedent are satisfied] and expires ten (10) years thereafter; provided, however, that the License Period shall include an additional exclusive play-off period of

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six (6) months for all licenses in existence as of the last day of the License Period during which CPT may continue to exercise the Rights.

PP hereby irrevocably appoints Distributor as its attorney-in-fact, with full power and authority to do all such acts and things, and to execute, acknowledge, deliver, file, register and record the Program and all documents pertinent thereto, in the Copyright Office of the United States of America and in any other office or offices in any other jurisdictions in the name, stead and on behalf of the PP, as Distributor may deem necessary or proper to accomplish the same, this being a power coupled with an interest.

Distributor is hereby empowered by PP to bring, prosecute, defend and appear in suits, actions and proceedings of any nature, concerning any copyright in and to the Program or any infringement of such copyright or violation of any of the rights licensed to Distributor herein, but at the cost and expense of Distributor, and, at its option, Distributor may join the PP as a party plaintiff or defendant in any such suit, action or proceeding. Any recovery of damages, penalties, costs or other amounts arising by reason of the infringement of any such copyright(s) or violation of the rights licensed to Distributor herein has been assigned, and shall be paid, to Distributor.

This Assignment is dated as of, and is subject to all of the terms, conditions and provisions of the Agreement between PP and Distributor dated as of __________, 2014.

PRIMER PLANO

Signed:

By:

Its: /Authorized Signatory

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EXHIBIT BSPE DELIVERY REQUIREMENTS AND TECHNICAL SPECIFICATIONS

LEGAL DELIVERY. The following material(s) will be delivered, unless otherwise specified, to CPT Holdings, Inc., 10202 West Washington Blvd., Culver City, CA 90232, Attention: Kimberly Navidi (or such other address or individual as CPT will determine). Where original material(s) are in any language other than English, AVF shall also provide an English translation of the same:

1. Clearly legible copies of all chain-of-title documents required by CPT, evidencing PP’s proper ownership and permitting the use of any and all literary, dramatic, musical and other material used in the production of the Program or upon which the Program and/or screenplay may be based, together with certificates of authorship and proof of payment in connection with the acquisition of the necessary rights in and to such material and the exercise of all options related thereto.

2. As applicable, a copy of the following for PP: (i) certified articles of incorporation (or restated forward articles of incorporation) from, as applicable, the state, province, or country of incorporation; (ii) if PP is a limited liability company, articles of organization (or documentation equivalent to the foregoing) from, as applicable, the state, province, or country of organization; (iii) if PP is a limited partnership, a certificate of good standing (or documentation equivalent to the foregoing) from, as applicable, the state, province, or country of establishment, and a limited partnership agreement, if requested by CPT; (iv) if PP is a d/b/a, a fictitious business statement; and (v) evidence that PP is a legal trust duly formed and validly existing in good standing under the laws of the applicable state, province, or country.

3. Evidence satisfactory to CPT that there is no lien, charge, encumbrance or security interest in the Rights granted to CPT (other than customary liens in favor of SAG, WGA, or DGA), including, without limitation, executed releases (to the extent of the Rights granted to CPT) in form and substance satisfactory to CPT from any party to whom any such lien, charge, encumbrance, or security interest was granted (including, without limitation, from all parties disclosed in the copyright report).

4. A current (i.e., dated no earlier than thirty (30) days prior to the Final Delivery Date) (a) copyright report issued by Thomson CompuMark, (b) title report and (c) opinion issued.

5. A complete typewritten statement of all third party screen and paid advertising credit, name and likeness, and other third party obligations, restrictions and approval rights including, without limitation, all dubbing obligations (if any), director’s editing rights, video mastering consultation or approval rights, etc. for each individual and entity named in the billing block with excerpts from each applicable third party agreement setting forth the precise extent and nature of such obligations, restrictions and/or approval rights, in the identical order as listed in the billing block.

6. The proposed paid ad/packaging summary, credit and billing block layout for both full- and small-sized paid ads.

7. The final copyright notice, as it appears on the billing block.

8. Clearly legible copies of fully-executed agreements for all actors and key production personnel (e.g., director, producer, writer, etc.) and any other talent and/or crew agreements requested by CPT.

9. Clearly legible copies of fully-executed valid and subsisting license agreements from all parties having any rights in any stock footage or film clips used in the Program, granting to CPT the perpetual and worldwide right to incorporate said stock footage or clip in the Program (and/or in trailers and television spots for the Program) and to distribute, exhibit, advertise and otherwise exploit the Program or any portion thereof embodying such stock footage or clips in any and all media perpetually throughout the world and proof of payment for the foregoing.

10. If the Program or underlying materials or properties are based upon or related to events in the real life of real persons, living or dead, or portrays real persons, true and correct copies of all personal releases and other documentation showing that PP has all rights necessary to permit CPT to exploit the Program in the manner provided herein without violating any third party rights or incurring any obligations to any third party.

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11. A complete written statement showing the exact form and manner of the main and end titles of the Program.

12. Originals of each of the following signed by the Underwriter: (a) Certificate of E&O Insurance; and (b) Additional Insured and Primary/Non-Contributory Endorsements.

13. One (1) typewritten (or computer generated) hard copy and one (1) copy in digital format of a music cue sheet in standard form showing the particulars of all music synchronized with the Program (all versions) and additional cue sheets for the trailer(s) and any other materials in connection with the Program containing original and/or licensed music. All such cue sheets will include for each cue: (i) the title of song; (ii) the name of the songwriter/composer; (iii) the songwriter’s/composer’s performing rights affiliation (e.g., ASCAP, BMI or SESAC); (iv) the name of publisher; (v) the publisher’s performing rights affiliation; (vi) the type of use; (vii) the length of the use; and (viii) an indication of whether or not a master recording was licensed.

14. Clearly legible, fully-executed copies and proof of payment for any and all synchronization licenses and master use licenses, all valid and sufficient to provide CPT with the right to use and perform all musical compositions and master recordings contained in the soundtrack(s) of the Program (all versions) and all trailer(s), in connection with the exploitation and distribution of the Program (all versions) and all trailer(s) during the License Period throughout the Territory for any and all purposes and by any means, method or device now or hereafter known at no additional cost to CPT (including, without limitation, any download fees or mechanical reproduction fees).

15. Clearly legible copies of the copyright registration certificate(s), or the application form with detailed request number identification if the registration is under process, in the Territory for both the screenplay and Program.

16. Clearly legible copies of the “Certification Letter” (compliance with 18 U.S.C. §2257A(h) and 28 C.F.R. §75.9) for the Program.

17. Two (2) signed, dated and notarized originals of the short form Assignment of Distribution Rights (as set forth in Exhibit A).

18. For payment of monies pursuant to the Agreement: (i) the complete, accurate name of the payee (whether this is PP or a third-party); (ii) if the payee is a third-party, a fully-executed direction-to-pay (in the form to be provided by CPT); (iii) a complete signed IRS form W-9 for the payee) or IRS form W-8(BEN) if the payee is a non-US entity); and (iv) full and complete payment instructions for the payee (e.g., bank name; bank address; bank telephone number; bank account name; bank ABA or routing number; bank account number; sort code/Swift code (if applicable); intermediary bank (if any); and any other special wiring instructions).

19. List of all product placement and the consideration provided by PP together with all available documentation with respect thereto and the locations (by time code) in the Program of such product placement. For any non-monetary consideration received from suppliers, PP shall provide an estimate of the value of such consideration.

20. Upon request, such other documents as CPT may deem necessary or proper to evidence, maintain or effectuate any or all of the distribution, security or other rights granted to CPT under any provision of the Agreement.

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MARKETING DELIVERABLES LIST. The following material(s) will be delivered, unless otherwise specified, to CPT Holdings, Inc., 10202 West Washington Blvd., Culver City, CA 90232, Attention: Patrice Drakeford (or such other address or individual as CPT will determine):

1. Gallery Photography:- Specs: RAW format, RAW files, uncompressed. In addition to the RAW files, files processed as TIFFS

(approx. 60-100 MB in size) and also preferably as JPGS (1.5-6 MB each)- Gallery Group shots

In character and out of character “glamour” shots In the appropriate hierarchy (i.e. Timothy Olyphant, Justified, standing out as he is the “lead”) Need photography that “sets-up” the show and are representative of the context of the show (i.e. legal

drama – court room setting) – Shots of set or background without talent More shots that are situated for vertical use

- Gallery Single shots of each actor In multiple outfits In character With multiple expressions Neutral color backgrounds if possible

2. Episodic Photography: - Specs: High-resolution JPEG format (at least 300dpi)- Coverage of special guests stars3. Logo:- Spec: Illustrator EPS file4. Key Art:- VERTICAL – 27” x 40” (plus bleed)- HORIZONTAL – 14” x 48” (plus bleed)- *Include minimum 2” useable bleed. For maximum flexibility, try to include enough bleed to preserve full

bodies/body parts or essential background elements. - DELIVERABLES : (For both vertical and horizontal builds)

Photoshop layered PSD files. Minimum 150dpi. CMYK. JPG with title and text. (Half size. Quality 10) JPG without title and text. (Half size. Quality 10)

5. Press Kit Materials (Electronic):- Specs: As Word docs.- Cast Bios- Executive Producer/Producer Bios- Director/Writer Bios - Show Description- Production Notes/Production Information- Storylines/Loglines6. Video:

a. EPK – cleared both for a broadcast use including 2-3 featurettes and raw b-roll for local editb. BTSc. Episodic Network Promos (all durations)d. Launch Promos (all durations)e. Trailers (all durations)f. Teasers g. Image campaign (aka Mondo / Special Network shoots with talent)h. Radio spots - for reference only provided as mpg files, scripts as digital file

- Request that all promos, trailers and teasers are cleared for broadcast and use in specs noted below.- No music clearance necessary for international use

Material Specs:Request in PAL (ideal for international use) and NTSC with the following specs (HD is always preferred when available and digital delivery also preferred):

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High Definition:1080p/i High Definition (NTSC)NTSC ProRes_422_HQ QuickTime on Data DVDOrHDCAM SR Tape Frame size: 1920 x 1080Frame rate: 30 fpsAspect ratio: 16:9Video: Textless: no broadcast or ratings bugs, no tune-in informationAudio: split track (as required)**** A Texted, fully mixed version of all Trailers/Promos should be provided as a reference pass on the master.

1080p/i High Definition (PAL) – IF AVAILABLEPAL ProRes_422_HQ QuickTime on Data DVDOrHDCAM SR Tape Frame size: 1920 x 1080Frame rate: 25 fpsAspect ratio: 16:9Video: Textless: no broadcast or ratings bugs, no tune-in informationAudio: split track (as required)**** A Texted, fully mixed version of all Trailers/Promos should be provided as a reference pass on the master.

Standard Definition:Standard Definition (NTSC)NTSC ProRes_422 QuickTime on Data DVDOrNTSC Uncompressed Digital Betacam TapeFrame size: 720 x 486Frame rate: 30 fpsAspect ratio: 4:3Video: Textless: no broadcast or ratings bugs, no tune-in informationAudio: split track (as required) Ch 1 Dia/Ch 2 Comp/Ch 3 Music/ Ch 4 Effects**** A Texted, fully mixed version of all Trailers/Promos should be provided as a reference pass on the master.

Standard Definition (PAL) - IF AVAILABLEPAL ProRes_422 QuickTime on Data DVDOrPAL Uncompressed Digital Betacam TapeFrame size: 720 x 576Frame rate: 25 fpsAspect ratio: 4:3Video: Textless: no broadcast or ratings bugs, no tune-in information

Audio: split track (as required) Ch 1 Dia/Ch 2 Comp/Ch 3 Music/ Ch 4 Effects**** A Texted, fully mixed version of all Trailers/Promos should be provided as a reference pass on the master.

7. Digital Assets:- Microsite template and show specific assets for web use- Web banners- Mobile Wallpaper- Online Wallpaper- Mobile Screensavers - IM Icons for web

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MASTERS DELIVERY AND FORMAT TECHNICAL SPECIFICATIONS.

1. Please use this document specifically for, but not limited to, the following:

HD Color Corrected Masters HDCAM-SR Protection Clones (from HD Masters) (DBC) Downconversion Masters (from HD Masters) (DBC) Protection Masters (from DBC Downconversion Masters) Film Scans/Digital Intermediates (HD, 2K, 4K DPX Files)

2. Use SONY stock whenever possible

3. HD masters should be recorded onto HDCAM-SR only.

4. HD masters should be recorded as 4:4:4 unless other sampling rate agreed to by SPE

5. HDCAM-SR masters can be recorded on loads up to 124 minutes (155 minutes in 23.98PsF).

6. Head Format

57:00 – 58:30 BLACK (Minimum 90 Seconds/120 seconds maximum of preroll)58:30 – 59:30 100% BARS and 1K TONE on HD TAPES

75% SPLIT FIELD BARS AND 1K TONE ON NTSC TAPES(75% FULL FIELD BARS and 1K TONE for PAL Tapes)

59:30 – 59:40 SLATE59:40 – Hour 01 BLACK59:53 – 59:58 MODIFICATION CARD – On 4x3 pan/scan masters and down conversions01:00:00:00 START OF PROGRAM

(Columbia Logo has fade up, so it does not need to begin at the hour. Use two pop as reference for Logo start.)

7. Head Format, Subsequent Parts (i.e., part 2 of 2)

3:00 - 1:30 BLACK1:30 - :30 BARS AND TONE:30 - :20 SLATE:20 - :00 BLACK

8. Textless and Tail Format

EOP - :40 BLACK:40 - :50 SLATE :50 - :60 BLACK (TEXTLESS START :60 AFTER PGM.)2:00 BLACK AFTER END OF ALL EOP INFORMAITON

Please put :05 of black between main titles and end titles

Time between textless and textless inserts (or foreign titles) to be formatted as follows:

:10 BLACK:10 SLATE:10 BLACK

Please put :05 of black between individual Textless Inserts

Time between individual Foreign titles (different languages) to be formatted as follows:

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:10 BLACK:10 SLATE:10 BLACK

Textless and Textless Inserts to be formatted and laid down as supplied from film or data files.

9. Textless elements are to be transferred at tail to matching program aspect ratio, color, framing and length:

HD Feature Aspect Ratio - 2.40, textless will be 2.40 at tailHD Feature Aspect Ratio - 2.35, textless will be 2.35 at tailHD Feature Aspect Ratio – 1.78, textless will be 1.78 at tailHD Feature Aspect Ratio – 1.33, textless will be 1.33 at tail

10. Order of ‘end of program’ information should be as follows:

Slate for textless main and ends Textless main and ends Slate for textless inserts Textless inserts Slate for foreign main and ends and foreign inserts Foreign inserts

11. There should be individual slates for textless, foreign language, and other insert material and they should include the following (If no textless, please state as such on slates and labels)

Content (eg., mains only)Language (specifically for foreign main and ends)Run Time is not required

12. Textless, Inserts, and Foreign Text Material must come in and go out on the corresponding (matching) frame from the body of the program to maintain 3:2 cadence when making interlace tapes. The exact time code need not match, however the frame must be identical. In the event that the end of program material does not match the body of the program, please notify the SPE Telecine Supervisor prior to transferring the material.

Here is an example:

A texted shot in program cuts in at 01:10:11:20. The matching textless shot needs to have a corresponding cut in frame number of 20. (i.e. 02:44:18:20) in continuous time code after end of feature – do not insert matching time code from program.If a shot fades up or fades out, a cut point within the sequence will need to be used as a reference and back timed into the correct position. This happens most often in the beginning of the movie with a fade up of a logo. In this case, the last frame of the opening is used as the reference point and back timed in.

MASTERING ASPECT RATIOS

1. HD masters will be manufactured from DI Data Files or 35mm Positive Film Masters (including Color Interpositives or B&W Fine Grain Masters) unless other source elements are approved by the Sony asset Management Title Manager.

2. Telecine transfer aspect ratio information for New Release and Library Titles.

Original 1.85 theatrical aspect ratio features will be recorded as 16x9 1.78 full frame masters so that when a 1.85 matte is imposed the resulting image will match the original 1.85 theatrical framing.

Original 2.40, 2.35 or other anamorphic theatrical presentation aspect ratio features will be recorded as 16x9 letterboxed to original theatrical framing, i.e. 2.40, 2.35 etc.

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Original theatrical aspect ratio versions at 1.66 be recorded with side bars to create 1.66 image matching theatrical framing.

Original theatrical aspect ratio versions at 1.37 shall be recorded at 1.33 with side bars to create 1.33 image to match theatrical presentation.

4x3 Pan/Scan - 4x3 Full Frame versions shall be recorded to 4x3 with side bars and image pan/scanned where necessary to fill up 4x3 frame.

16x9 Pan/Scan - Anamorphic theatrical features shall also be recorded to 16x9 FF with image pan/scanned where necessary to fill up 16x9 frame.

ALL RE-FRAMING DECISIONS MUST BE APPROVED BY SONY ASSET MANAGEMENT TITLE MANAGER AND TALENT, WHERE APPROPRIATE.

3. NEW RELEASES: FOR NEW RELEASES THE VIDEO MASTERS WILL BE DERIVED FROM FINAL, APPROVED DIGITAL INTERMEDIATE FULL APERTURE FILES. THE ORIGINAL THEATRICAL ASPECT RATIO VIDEO MASTER WILL REFLECT THE DI THEATRICAL PRESENTATION FRAMING. THE PAN/SCAN VERSION(S) WILL MAKE USE OF THE FULL APERTURE DATA UNLESS INSTRUCTED OTHERWISE BY THE SONY TITLE MANAGER PER TALENT REQUEST.

ANY ADDITIONAL REQUESTED CLEAN UP OR RESTORATION TO VIDEO MASTERS MUST BE INCORPORATED IN DI DATA FILES SO THAT ARCHIVE WILL CAPTURE THESE CHANGES.

Telecine transfer workflow information for Library Features:

The initial film scan must be a Full Aperture Transfer (Identified as a FAT Master) that is non-color corrected without dirt/scratch removal applied. It will be created in 2K (2048x1556) or 4K (4096x3112) DPX Data Files. The files will be stored on a POD, SANS,RAID.

The FAT master will then be color corrected in a supervised session and dirt/ scratch removal applied to the files.

To create a 1.85 OAR HD Master first a 16x9, 1.78 Full Frame picture will be extracted from the FAT Master. Then a 1.85 Letterbox matte is imposed on the 1.78 resulting in an image which matches the original theatrical presentation of 1.85. Note that two HD Masters are created: 1.78 Full Frame and 1.85 Letterbox. Both are created from the FAT Master in separate sessions. OAR = Original Aspect Ratio

A 2.40 OAR or other theatrical anamorphic films HD Master will be extracted from the FAT Master as 16x9 2.40 (or other projection OAR’s) with letterbox mattes to accurately represent the theatrical presentation.

A 1.66 OAR HD Master will be extracted from the FAT Master as 16x9 1.66 with side mattes to accurately represent the theatrical presentation.

A 1.37 OAR HD Master shall be extracted from the FAT Master as 4x3 1.33 with side mattes to accurately represent the theatrical presentation.

To create a 4x3 Full Frame version HD Master from a widescreen OAR the picture will be extracted from the FAT Master and recorded to 4x3 with side mattes. The image will be pan/scanned where necessary to fill up the 4x3 frame.

To create a 16x9 1.78 Full Frame version HD Master from a 2.40 (anamorphic or Super 35) or other theatrical anamorphic OAR films the picture will be extracted from the FAT Master. The image will be pan/scanned where necessary to fill up the 16x9 frame.

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ALL RE-FRAMING DECISIONS MUST BE APPROVED BY A SONY ASSET MANAGEMENT TITLE MANAGER AND TALENT, WHERE APPROPRIATE.

4. The last field of picture and time code of a video part/reel and the first field of picture of subsequent part/reel must be consecutive; ending on field 2 and beginning on field 1 so as not to disrupt the 3:2 cadence of interlace tapes.

5. The HD Timecode of the last frame of each Film Reel must be recorded and provided to the SPE QC Evaluator prior to the QC Review. If alternate versions are created, such as Director’s Cut or Extended or Unrated, then the HD time codes of these additions/changes/deletions must be provided to Sony title manager.

6. All titles and credits and insert titles shall fall within the title safe. Manipulation of titles/credits (e.g. squeezing) is not acceptable unless approved by Sony Title Manger.

7. Main credits/titles will be recorded in the aspect ratio of the video master. End credits are to be transferred in the original theatrical aspect ratio on all video masters including 4x3 FF tapes unless the Sony Title Manager approves otherwise.

8. All boom mics, camera flags, crew, production equipment, incomplete rendering, dolly tracks, splices, frame and matte lines, etc. should not be seen.

9. Vertical and horizontal blanking should not shift through feature due to frame lines or edge of film frame.

10. All tapes to have continuous time code; LTC and VITC must match.

All DBC Down Conversions and Digital Betacam Protection Masters must have continuous (525) DFTC, (625) EBUTC across all parts.

11. No noise reduction or other enhancement or signal processing is to be used on color corrected HD Masters, down conversions or clones, unless authorized by SPE Telecine Supervisor.

12. The end of part or program for any part should be noted with the last frame and field of video and/or audio on QC Reports.

13. The end of part or program for any part should be noted with the first frame of black after the last frame of video on slates and labels.

14. Please black over any film leader or two pop information before and after program in black.15. A five second modification card must appear from 00:59:53:00 – 00:59:58:00 on all pan/scan

masters, HD and SD, and on any other masters in which the image is altered from the original theatrical aspect ratio. (The time code location is to be adjusted if the feature does not start at 01:00:00:00).

SEGMENTING AND CREATING LONG PLAYS

1. NO DOWNCONVERSION OR CLONE SHOULD BE MADE PRIOR TO THE APPROVAL OF THE COLOR CORRECTED MASTER UNLESS AUTHORIZED BY THE TELECINE SUPERVISOR.

2. The DBC Protection Master and DBC Down Conversion Masters should be tied to create a long play if HD master is in parts.

Note: When editing several parts to create a long play, attention should be paid to the fields where different parts end and start in order to perform the edit without erasing one field of video, therefore changing the 3-2 sequence. Some of the tapes may end on a field 1 and the following tape starts on a field 2, in this case the edit field on the VTR’s should be changed to edit on field

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3. Any work tapes that are created will need to have time code that is field and frame accurate to final,

approved masters.

VIDEO ENCODES

Upon completion of the video masters, all HD and SD masters must be encoded unless directed otherwise by the

title supervisor.

HD SPECS: 80 mb/sec iframe only mpeg 2 transfer stream (M2T)

SD SPECS: 50 mb/sec iframe only mpeg 2 transfer stream (M2T)

LABEL / SLATE INFORMATION TO BE AS FOLLOWS:

FOR NEW RELEASES SECURITY TITLES WILL BE PROVIDED FOR USE ON LABELS ONLY (NOT ON SLATES) PRIOR TO FEATURE THEATRICAL RELEASE. ON DAY OF THEATRICAL RELEASE TITLE

MANAGER WILL REQUEST THAT ALL LABELS BE CHANGED TO REFLECT ACTUAL TITLE.

SONY PICTURES ENTERTAINMENTFEATURE TITLE (and copyright date)

VIDEO ASPECT RATIO (SEE BELOW FOR EXAMPLE)Version (Theatrical; International; Unrated; etc.) -

Master description to be as follows: HD COLOR CORRECTED MASTER

(OR) HD PROTECTION CLONE (OR) DBC DOWN CONVERSION MASTER (FROM HD)

(OR) DBC PROTECTION MASTER (FROM HD)PART – TIME CODE (please specify 23.98sf or 59.94i if HD) – R.T.

AUDIO CONFIGURATION W/LANGUAGEDATE P.O.# / VENDOR FACILITY

TEXTLESS MATERIAL :60 AFTER PGM. (tail of final part only)SOURCE MATERIAL (PICTURE AND AUDIO FOR HD)

(VERSION SOURCE FOR DOWN CONVERSIONS AND CLONES, NOT TAPE STOCK SOURCE)

SLATE EXAMPLE

SONY PICTURES ENTERTAINMENT“SAVING SILVERMAN” (Theatrical Version)

16X9 1.78 HD COLOR CORRECTED MASTERPART 1 OF 2 / 1080 / 23.98sf / R.T. 49:53:02

CH.1 STEREO COMP ENG. CH.2 STEREO COMP ENG.CH.3 STEREO M&E CH.4 STEREO M & E

CH.5- L CH.6-R CH.7-C CH.8-SW CH.9-LS CH.10-RS CH.11/12-MOS

4/23/02 P.O. 523654 / VENDOR FACILITYTEXTLESS MAIN AND ENDS, INSERTS, FOREIGN MAIN AND ENDS AND INSERTS :60 AFTER PGM

35MM ARCHIVAL IP & MAG TRACKS

Please note that all slates and labels should refer to specific versions as follows for High Definition elements (if aspect ratio is not included below, please discuss with SPE Telecine supervisor):

4x3 (1.33)16x9 (1.78)16x9 (2.55, 2.50, 2.40, 2.35, 2.20)16x9 (1.66)

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Please note that all slates and labels should refer to specific versions as follows for Standard Definition elements (if aspect ratio is not included below, please discuss with SPE Telecine supervisor):

525 4x3 Letterbox (2.55, 2.50, 2.40, 2.35, 2.20) 625 4x3 Letterbox (2.55, 2.50, 2.40, 2.35, 2.20)525 4x3 Full Frame (1.33)625 4x3 Full Frame (1.33)525 4x3 Matted (1.85)625 4x3 Matted (1.85)525 16x9 Matted (1.85)625 16x9 Matted (1.85)525 16X9 Side Matted (1.66)625 16x9 Side Matted (1.66)525 16x9 Full Frame (1.78)625 16x9 Full Frame (1.78)525 16x9 Letterbox (2.40, 2.35, 2.20)625 16x9 Letterbox (2.40, 2.35, 2.20)

DATA MEDIA LABEL / SLATE INFORMATION TO BE AS FOLLOWS:

SONY PICTURES ENTERTAINMENTFEATURE TITLE AND DESCRIPTION OF WHAT DATA IS FOR (e.g. Feature or Textless,etc.)

FORMAT (e.g. 16x9 or 4x3; 1.33, 1.85, 2.40)FILE SIZE (e.g. 2048 x 1556)

FILE TYPE (e.g. 10 bit Cineon, Linear or Logarithmic)FILE FORMAT (e.g. Tar and should include frames per Tar and how many Tar per sequence)

TAPE/MEDIA TYPE (e.g. DLT)SHOTS OR SEQUENCE LIST WITH FRAME TOTAL PER SEQUENCE

DATE / VENDOR FACILITYTEXTLESS MATERIAL :60 AFTER PGM. (tail of final part only)

SOURCE MATERIAL (PICTURE AND AUDIO FOR HD)(VERSION SOURCE FOR DOWN CONVERSIONS AND CLONES, NOT TAPE STOCK SOURCE)

Sony Pictures Entertainment Feature Mastering Specs

NTSC ASPECT RATIOS (4X3) NTSC ASPECT RATIOS (16X9)ASP

ECTRATIO

ACTIVE

LINES

FIRST LINE PICTURE

LAST LINE

PICTURE

ASPECT RATIO

ACTIVE

LINES

FIRST LINE PICTURE

LAST LINE PICTURE

1.33:1 240 21 262 1.33:1 240 21 2621.66:1 192 46 237 1.66:1 240 21 2621.77:1 180 52 231 1.77:1 240 21 2621.85:1 173 55 228 1.85:1 230 26 2572.00:1 160 62 221 2.00:1 213 35 2482.20:1 145 69 214 2.20:1 193 45 2382.35:1 136 74 209 2.35:1 181 51 2322.40:1 133 75 208 2.40:1 177 53 2302.55:1 125 79 204 2.55:1 167 58 225

PAL ASPECT RATIOS (4X3) 0 PAL ASPECT RATIOS (16X9)

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ASPECT

RATIO

ACTIVE

LINES

FIRST LINE PICTURE

LAST LINE

PICTURE

ASPECT RATIO

ACTIVE

LINES

FIRST LINE PICTURE

LAST LINE PICTURE

1.33:1 288 23 310 1.33:1 288 23 3101.66:1 231 51 282 1.66:1 288 23 3101.77:1 216 59 274 1.77:1 288 23 3101.85:1 207 63 270 1.85:1 276 29 3042.00:1 192 70 263 2.00:1 256 38 2952.20:1 175 79 254 2.20:1 233 50 2832.35:1 163 85 248 2.35:1 217 58 2752.40:1 160 87 246 2.40:1 213 60 2732.55:1 150 92 241 2.55:1 200 67 266

HD 1080 16X9 ASPECT RATIOS HD 1080 16X9 FOR 4X3 LETTERBOX (Main & Ends)ASP

ECTRATIO

ACTIVE

LINES

FIRST LINE PICTURE

LAST LINE

PICTURE

ASPECT RATIO

FIRST LINE PICTURE

LAST LINE PICTURE

1.33:1 540 21 560 1.33:1 21 5601.66:1 540 21 560 1.66:1 79 5031.77:1 540 21 560 1.77:1 93 4891.85:1 519 31 550 1.85:1 102 4792.00:1 480 51 530 2.00:1 114 4672.20:1 437 72 509 2.20:1 130 4522.35:1 408 87 494 2.35:1 142 4402.40:1 399 91 490 2.40:1 146 4352.55:1 375 103 478 2.55:1 152 430

HD 1080 16X9 SIDE MATTESASPECT RATIO FIRST PIXEL

(+/- 6)LAST PIXEL

(+/- 6)1.33:1 240 16791.66:1 63 1856

3-10-04

1080 Signal Parameters

Lines per Frame 1125Active Lines per Frame 1080Image Aspect Ratio 16x9Active Line H.Blanking 23.98sf 11.2-11.4

Field Frequency 23.98, 24Amplitude Scale millivoltsP - P Video amplitude 1.0 voltsSync Level 300mvPeak White 700mvPicture Black 0mvP-P Picture Amplitude 700mvMax Active Video 1920 clock periodMin Active Video 1908First Line [Field 1] 1First Active Line 21Last Active Line 562Center Line [Fld 1] 260.5

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First Line [Field 2] 564First Active Line [fld 2] 584Last active Line [fld 2] 1123Center Line [Field 2] 854Color Display SMPTE 274/ITU 709Display White Ref. CIE D65Gamma of Display 2.2

525 SIGNAL PARAMETERS

VITC TO BE ON LINES 12/14Note: Please clip Luminance at 700 mv

Lines per Frame 525Active Lines per Frame 486720 Digital Active Line 53.3 µs Active Line Blanking 10.6 µsCenter of Image 223 lines field 1Amplitude Scale millivoltsP - P Video amplitude 1.0 voltsSync Level 300mvPeak White 700mvPicture Black 0mvP-P Picture Amplitude 700mvSample Rate 13.5MHznsec/ sample 74.074nsActive Sample per Line 720Total samples per Line 858Entire Line 63.5 µs 121Field Frequency 59.94Color Display ITU 601Display White Ref. CIE D65Gamma of Display 2.2Horizontal Blanking 10.2 – 11.0

625 SIGNAL PARAMETERS

VITC TO BE ON LINES 19/21Note: Please clip Luminance at 700 mv

Lines per Frame 625Active Lines per Frame 576720 Digital Active Line 53.3 µs Active Line Blanking 11.1 µsCenter of Image 256 lines field 1Amplitude Scale millivoltsP-P Video amplitude 1.0 voltsSync Level 300mvPeak White 700mvPicture Black 0mvP-P Picture Amplitude 700mvSample Rate 13.5MHznsec/ sample 74.074nsActive Sample per Line 720Total samples per Line 864Entire Line 64 µsField Frequency 50HzColor Display ITU 601document.docx 25

Display White Ref. CIE D65Gamma of Display 2.2Horizontal Blanking 10.7 – 12.1

AUDIO SPECIFICATIONS

TRACK LAYOUT (see table below):

The audio used on a new HD title shall be the native mix of the movie in Dolby Surround (Lt-Rt) on tracks 1+2, a filled Music and Effects track of the movie in Dolby Surround (Lt-Rt) on tracks 3 & 4 and the native mix of the movie in 5.1 on track 5-10 (Layout is L, R, C, Sub, Ls, Rs). If the mastering format does not accommodate 10 tracks, then the native mix in Lt-Rt is placed on channels 1+2, and the Lt-Rt M+E is placed on channels 3+4. The cue track is to contain a mono mix of the feature audio (if this is not possible, one channel of the Lt-Rt is OK). If the source audio is available only in standard stereo or monaural, then this is used instead.

If the track is older and does not have a 5.1 mix, then the track layout would be the native mix of the movie on tracks 1 & 2 and the M+E on tracks 3 & 4. If the movie is mono, then both tracks 1+2 should contain the mono mix of the movie exactly in phase with each other, and tracks 3+4 should contain the mono M+E of the movie exactly in phase with each other.

TRACK #

AUDIO CONTENT(New Title)

AUDIO CONTENT(Standard Stereo Title)

AUDIO CONTENT

(Mono Title)

COMMENT

1 Lt-Rt (Lang) Left Std. Stereo (Lang) Left Mono (Lang.) Specify exact configuration (Lt-Rt, Std. Stereo or mono)

2 Lt-Rt (Lang) Right Std. Stereo (Lang) Right Mono (Lang.) “3 Lt-Rt M+E-Left Std. Stereo M+E-Left Mono M+E “4 Lt-Rt M+E-Right Std. Stereo M+E-Right Mono M+E “5 5.1 (Lang)-Left --Blank-- --Blank-- If no 5.1 exists or if

format does not accommodate 10 tracks, leave blank.

6 5.1 (Lang)-Right --Blank-- --Blank-- “7 5.1 (Lang)-Center --Blank-- --Blank-- “8 5.1 (Lang)-Sub --Blank-- --Blank-- “9 5.1 (Lang)-L Surr. --Blank-- --Blank-- “10 5.1 (Lang)-R Surr. --Blank-- --Blank-- “11 --Blank-- --Blank-- --Blank-- Possible to use for

additional language12 --Blank-- --Blank-- --Blank-- Possible to use for

additional languageCUE (Lang.) Mix Mono (Lang.) Mix Mono Mono (Lang.) OK to use left channel if

not possible to mix the channels together

The label shall reflect the exact configuration and track layout of the audio. Distinction must be made between Dolby Surround (Left Total, Right Total), standard stereo (Std. Stereo Left and Right) and monaural (mono). “Stereo” or “Comp”. is not an acceptable designation. Distinction should also be made if the 5.1 audio track contains no subwoofer information in which case it is designated “5.0”. This information should be supplied with the element, otherwise the telecine supervisor should be consulted. Examples of labels can be found in the overall specifications document.

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DBC masters and DBC protection masters shall contain the native mix of the movie in Dolby Surround (Lt-Rt) on tracks 1+2 and a filled Music and Effects track of the movie in Dolby Surround (Lt-Rt) on tracks 3+4. Typically, these are carried through from the HD master tracks 1+2 and 9+10 respectively unless the

movie is only mastered in standard definition. The cue track is to contain a mono mix of the feature audio, which will need to be generated again at the downconversion (if a mono mix is not possible, one channel is of the Lt-Rt is OK).

HD MASTER AUDIO SPECIFICATIONS:

No noise reduction or emphases are to be used on the audio tracks of the video master. If the source element has noise reduction or emphasis, it must be decoded and the level adjusted if necessary prior to laying to the video master. For example, an SR encoded Lt-Rt printmaster should be decoded, then raised 3db on the output side of the decoder to compensate for the SR level drop. Dolby A printmasters would be decoded but would not be raised in level.

Sampling rate: 48khzFrame rate: 23.98 fpsBit depth: 24-20 bits depending on machine capabilitiesCrosstalk: < -80db at 1Khz, channel to channelDistortion* Persistent distortion should be <.03% on a new title, older titles vary by age. Individual

effects may exceed this figure momentarily.Signal/Noise* >90db A weighted compared to reference level on a new title, older titles vary by age.Frequency Resp* 20 hz-20 khz +/- .5db for new titles, older titles will vary by age and audio source.

*Signal to noise must be judged by the era of the film. New features should have very little audible noise, and the S/N generally should be well in excess of 90 db when compared to reference level. Older films will vary greatly by time period and available source elements. These will have been restored as best as possible without compromising the ambience and integrity of the soundtrack prior to delivery. Very old film elements derived from optical elements that have been restored may have a S/N around 40-50 db, a film from the 70’s or early 80’s may be around 60db (Dolby A), films from the mid 80’s to mid 90’s may be around 70db (Dolby SR). If a film soundtrack seems either too noisy or too processed when evaluated by the vendor for suitability, this should be reviewed by the Telecine supervisor prior to starting the work.

Distortion likewise must be judged by the era of the film. A new film should be well under .03% in general, with loud effects exceeding this momentarily but not consistently. Very old films can have a great deal of inherent distortion, which should be minimized in the restoration process but cannot totally be eliminated. If a film soundtrack seems overly distorted for the era of the film when evaluated by the vendor for suitability, this should be reviewed by the Telecine supervisor prior to starting the work.

Frequency response is nominally 20 hz-20khz, however, adjustment for theater curves must be considered, as well as the age of the film. Modern films have very little adjustment for theater curves, and basically can have excellent frequency response. Films from the 70’s and 80’s may be adjusted for the theater curves in use at the time. This should have been minimized in the restoration process but cannot be undone completely. Old mono films done to the “academy” curve will often come across very brittle and thin compared to films made today. This also should have been minimized in the restoration process, but the overall effect will likely still manifest itself. If the frequency response seems poor considering the age of

the film when evaluated by the vendor for suitability, the Telecine supervisor should review this prior to starting the work.

ACCEPTABLE DIGITAL AUDIO SOURCES:

Digital audio sources must be discrete, with full frequency and data bandwidth. 24 bit resolution is preferred, 20 or 16 bit is accepted. The audio source should be recorded at a standard of 0VU = -20dbfs. Examples of acceptable digital audio sources in order of preference would be:

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1) FTP & Cineshare+ Protools files, A hard drive or firewire drive containing Pro-tools 4.3 sessions from a digital dubbing system (e.g. Pro tools, MMR8, DADR)

2) A discrete magneto-optical clone of this type of hard drive 3) 1/2” Digital Multitrack (DASH)4) DA98 HR (24 bit)5) TC DAT 6) DA88

No bit rate encoded sources may be used, such as a Dolby Digital MO designed for an SRD optical film soundtrack.

ACCEPTABLE ANALOG AUDIO SOURCES:

Analog audio sources should have Dolby SR noise reduction, A type is acceptable if supplied. DBX noise reduction can be accepted if necessary-care must be taken in setting the decoding for minimum artifacts. The source must have a full complement of alignment tones and meet the +/- 10 degree azimuth spec.

Acceptable analog audio sources include, in order of preference:

1) 35mm magnetic film.2) 2” Analog Mulititrack (16 or 24 track).3) 1/2” analog tape with time code on channel four.4) 16mm magnetic film.5) 1/4” reel-to-reel with center track time code

NOTE ON MONAURAL SOUNDTRACKS:

Monaural soundtracks shall be in perfect phase on both tracks of the HD master (track 1=track 2, track 3=track 4). If the mono source is supplied on two tracks and they do not have exact phase between them (e.g. bad azimuth or transfer error), then only one channel is used and is layed on to both tracks on the HD master.

NOTES ON MUSIC AND EFFECTS TRACKS:

For new release titles, the M+E track must be filled, on library titles it need not be filled. The feature audio and the M+E must be in sync with each other and within 3db in non dialog areas. The effects

are to be used for sync determination, not the music. This is because the sync relationship of music and effects can differ by a frame or two when compared to the feature track.

If the M+E is supplied as a multitrack element, it must be folded down through a Dolby Surround encoder prior to laying back to channels 3+4. See the technical audio notes for procedure.

AUDIO LEVELS ON THE HD MASTER:

Audio will be uncompressed and allowed the full digital headroom. However, no “overs” are to be recorded in. If the source audio is louder than the digital headroom will allow, peak limiting may be employed pending approval by Sony Pictures.

The reference level for audio on the HD master is –20dbfs. The electrical output at this level is +4 dbv or 1.2 volts RMS on American standard professional audio equipment. This corresponds to 0 on a standard VU meter. The level of the audio source should be adjusted such that the 1k head tone on the audio source shows a reading of –20dbfs on the HD machine PPM meter or 1.2 volts at its output using the signal path designated for the type of audio source used-see the technical audio notes. Each film reel should be checked on its own prior to laying down to the HD master, as there can be large variations between reels due to a number of factors, especially on older titles.

A 1k tone at –20dbfs should be printed along with the color bars on the HD master. See the section on tape formatting for specific details.

LEFT-RIGHT BALANCE:document.docx 28

The left/right level balance must be equal within ..25 db or better for center screen dialog and effects. This must be checked and fine-tuned in program after a course adjustment using the head tones-the head tones by themselves are not to be trusted. Each film reel should be checked on its own prior to laying down to the HD master, as there can be large variations between reels due to a number of factors.

AZIMUTH AND PHASE COHERENCY:

The absolute phase of the left and right channels must be accurate to within +/- 2 degrees. This is determined on an x-y oscilloscope as the angle of the x-y line. Typically, 0 degrees of phase is represented as a 45 degree line on the scope pattern. Absolute phase errors will manifest as an line angle greater than 47 degrees and less than 43 degrees.

Azimuth of center channel material (e.g. dry center screen dialog and mono effects) must be accurate within +/- 10 degrees. The width of the x-y scope line pattern is used to determine the azimuth, a thin straight line being 0 degrees, and an oval being 45 degrees.

The azimuth of the source must be fine adjusted in program after a coarse adjustment using the head tones. The head tones by themselves are never to be trusted. Each film reel should be checked prior to laying it to the video master, since the source for each film reel may have been made on different machines. This is quite often the case with older titles that originated on analog, even if the source used for the laydown is digital.

If the source element cannot be adjusted to be within this tolerance, the telecine supervisor must be contacted prior to undertaking the job. The issue will be reviewed, and a new element may be supplied or the issue approved as is. Digital sources that exhibit azimuth errors will almost certainly need to be remade. The source should be checked in a pre-evaluation for this issue-see the section on QC specifications for more details.

SYNC STANDARD:

Lining up the “2pop” sync marker on the film head leader and printmaster or M+E for each film reel will be used to attain the proper sync in most cases. If this does not look right, then the telecine supervisor is notified. A film one-lite video made from a sound print in film reel lengths should be referenced for the correct sync if there is a question. This can be requested from the telecine supervisor if it has not already been supplied. The HD master sync relationship should be as good or better than the film one lite.

Absolute sync must be within a field on production dialog and production effects, added foley within 1-2 frames. The only exception would be a film with poor overall sound editorial, which would be confirmed by consulting the film one light video reference. Questionable sync must be approved by the telecine supervisor.

TECHNICAL AUDIO NOTES:

Suggested Laydown Procedure Using A Digital Audio Source:

Note regarding MO disks:Care must be taken to play these on a system capable of playing them directly with no errors. If there is any question whether the MO disk provided can be played in real time with no dropouts, then it should be file copied to a hard drive first and then played out from the hard drive when transferring to the video master.

Suggested Signal Path for Digital Audio Sources:Digital audio should be transferred through the AES inputs on the HD machine. If the speed or sample rate of the source does not match the video, then the source is clocked at the rate necessary to attain the proper speed, and a high quality sample rate converter is used to attain 48k. The A/D and D/A converters on the source machine and HD video deck should not be used.

If the HD machine has an internal sample rate converter, this should be used only if a high quality outboard sample rate converter is not available. Note that many video machines default to having the rate converter “on”, so this must be turned off when using the outboard sample rate converter (this is also known as “data” mode).

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A typical example would be a film mix which is 47.952k, 23.98 fps, 29.97 ndftc. In laydown, this would be run at 23.98 fps to match the frame rate of the HD master, but the sample rate would be converted from 47.952k to 48k to match the HD masters’ audio sample rate.

Noise Reduction Decoding of Digital Audio Sources:If the source is encoded with noise reduction, this must be removed and the level adjusted when transferring to the video master. This will be especially necessary if the source element is a “Dolby SR” printmaster. A good way to do this from a digital source is to first adjust the playback machine to the proper speed if necessary per the above procedure. The digital outputs are then run into a high quality outboard D/A converter, next into a Dolby 363 with its output boosted 3db, and then into a high quality

outboard 24 bit A/D clocked at 48k. The output of the A/D converter goes into the HD video machines’ AES inputs. The A/D and D/A converters on the source machine and HD video deck should not be used.

Suggested Laydown Procedure Using An Analog Audio Source:

Signal Path:Analog audio should be digitized using a very high quality outboard D/A converter at 24 bit resolution and this run directly into the AES inputs on the HD machine without going through a digital router. The video deck’s analog inputs should not be used.

Fold Down and Dolby Surround Encoding for Music and Effects and Printmasters if needed:

If the supplied audio source for the M+E or Printmaster is a multitrack element, such as a 4+2, 5.1 or 6+2 M+E, this will need to be run through a Dolby Surround encoder. Only the main audio channels are to be used to create the Lt-Rt M+E. Do not include the “extra or “option” track-these are generally for reference only. (e.g., for a 4+2 M+E use only the Left, Center, Right and Surround track. For a 6+2, use only the Left, Center, Right, Left Surround, Right Surround and sub tracks).

On a case by case basis, some of the “extra” material from the “+2” tracks or material from a separate “helper” unit may be requested to be added-this work will be clearly detailed in the PO if this is to be done. In general these are not used for the video master.

The subwoofer channel of a 5.1 or 6+2 may need to be low-pass filtered at 80Hz prior to doing the fold down if this was not already done in the film production. Listen in a full range speaker first to be sure it is filtered-quite often it is not, which will cause issues.

It is suggested that if the source is digital that a Dolby DP563 or DMU be used as the Dolby Surround Encoding unit, which are designed to take up to 6 digital inputs and create a 2 track Lt-Rt in the digital domain easily. The steps detailed above for a digital audio source should be followed. These have a menu which will allow the combining levels to be adjusted, as well as desired inclusion of subwoofer information. Call up the menu and adjust the levels accordingly using the parameter buttons. General parameters on this menu would be: L= 0, C= -3, R= -3, Ls = -3, Rs= -3, Lfe = -6

If the source is analog, 4 channels of outboard A/D can be used ahead of the DP563 or DMU. If a DP563 or DMU is not available, then a Dolby SEU4 or DS4 may be used prior to a 2 channel outboard A/D converter. If this is done, then the surrounds are combined ahead of the encoder at –-3db each, and the Lfe channel is combined to the left and right channels at –6db. As noted, the subwoofer channel may need to be filtered at 80Hz prior to doing this if this was not already done in the film production-listen in a full range speaker first to be sure it is filtered.

If the audio level goes over +20 after combining, peak limiting can be employed at the discretion of the telecine supervisor. The “container” in the DMU is ideal-it can be set for –6, which is the least limiting. A DS4 would have its container turned all the way CCW. The 563 has a “limit” button-adjust in the menu. If any other encoder is used, a stereo coupled peak limiter can be placed at the output prior to the A/D converter.Adjust output levels of the encoded at head tone to –20dbfs as above. M+E levels should match printmaster levels within 3 db in non-dialog areas

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SONY PICTURES FEATURE FILM MASTERING DIRT AND SCRATCH REMOVAL PROCEDURES

An Automated dirt cleaning pass will be made to the color corrected FAT Master or DPX File, if needed. Then the FAT Master or DPX File will be sent to the Restoration department to manually complete the dirt and scratch removal, picture warp and splice bump fixes, miscue density/color correction, de-flicker and, image jitter correction. The allotted hours prescribed by the Sony RFP package will be 50 hours each title for automated and manual cleanup combined.The DRS department will then report through the Customer Service Representative (CSR) the need for additional hours of restoration and/or different strategies for fixing problem areas. The Sony Title Manager will review the work completed to date and either approve the additional work and hours or direct how to proceed with the restoration.

TRAILER SPECIFICATIONS

(HEAD FORMAT AND TIME CODE TO MATCH FEATURE, SEE PAGE 1)

1. Use SONY HDCAMSR stock.

2. Use separate reel for Trailers.

3. In the event that there are multiple versions of the trailers, please tie all to one reel and put 16x9 first followed by the 4x3.

Trailers for 1.85 features should be recorded as 16x9 FF (1.78)

All Trailers to begin at the zero minute (eg. 01:04:00:00).

:30 second minimum between trailers; if a trailer ends less than :30 seconds from the start of the following zero minute, then skip to the next minute.

(If trailer 1 ends at 01:02:29:00, then trailer 2 must start at 01:03:00:00, If trailer 1 ends at 01:02:36:02, then trailer 2 must start at 01:04:00:00).

There should be a :10 second slate, :20 seconds before start of trailer on all subsequent trailers after the first. (:10 slate, :10 black).

TRAILER LABEL / SLATE INFORMATION

SONY PICTURES ENTERTAINMENTTRAILER TITLE

VIDEO ASPECT RATIO (SEE ABOVE FOR VERBAGE)Version - to be as follows:

HD COLOR CORRECTED MASTER (OR) HD PROTECTION CLONE (OR) DBC DOWN CONVERSION MASTER (FROM HD)

(OR) DBC PROTECTION MASTER (FROM HD)PART – TIME CODE (please specify 23.98sf or 59.94i if HD) – R.T.

AUDIO CONFIGURATION W/LANGUAGEDATE P.O.# / VENDOR FACILITY

SOURCE MATERIAL (PICTURE AND AUDIO FOR HD)(VIDEO SOURCE FOR DOWN CONVERSIONS AND CLONES)

QC “TYPE” DEFINITIONS

FILM TRANSFER MASTER QC (HDCAM-SR) – FTM QC’s are intensive QC’s that will contain the following listed below as a guide. The main purpose of this type of QC is to identify and correct as many fixes as possible before dubbing to subsequent generations.

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1. Video, audio, head build and signal parameter. Verify the program identification, transfer version, aspect ratio, audio configuration and barcode information. Verify whether or not subtitling exists. Check slate and labels for errors. Title confirmation must match exactly to what is found in the body of the program.

2. Identify telecine, colorist, editing and CGI issues that need to be addressed prior to program approval. Examples include but not limited to checking color match consistency, framing/positioning, and proper scene sequencing. Also check for CGI errors.

3. Confirm that the titles, text and subtitling are within title safe area and are properly centered. Anything found outside of title safe area will be left to the PPS title supervisor’s discretion for possible fixes or approval.

4. Note any dirt and stain fixes that are central to action or on character’s faces. Rate any fixes as a “3” on the QC report.

5. Example minor dirt, stains, grain, element related soft resolution, contamination, shifts, breathing, flicker, ticks, pops, distortion, static on the report. State on the QC report if the defects are on the source material or if the defects were downgraded. Please note a few examples of each anomaly if possible to make a well-rounded report. Rate all downgraded defects as a “2” on your QC report.

6. Always note and timeout subtitled and texted scenes on the report. Confirm that all scenes including mains and ends are accounted for in the textless section. If the textless material is incomplete, describe the scene on the report and reject.

7. In the comments section write briefly and thoroughly about the quality and content of the element. If any defects were downgraded write this in the report too. Note in the comment section whether or not textless material is present and complete.

8. For features that we do not create non-subtitled masters for, are built with subtitles and have textless for the subtitles following the end of the feature, a list of all the separate subtitle cards (not just the first and last subtitle of a section) must be included. Our measure for this has been when the total subtitle time does not constitute more than 25% of the feature.

DBC QC’S – These QC’s are less intensive and the objective is to note examples of film defects, minor conversion ringing or any minor content issues. Check the video, audio and signal parameters. Verify program identification, transfer version aspect ratio, slate information and audio configuration. Reject for digital hits audio or video, conversion errors, formatting errors or any rejectable errors that may have been missed during the prior QC. Refer to the HD report before rejecting a tape. At this stage all dirt fixes, colorist and editor fixes should be completed.

SPOT CHECK QC’S – Check the video, audio, head build and signal parameters. Also verify the program identification, transfer version, aspect ratio and audio configuration. Check the RF at five points within the program. Do not generate a report for this type of QC.

SONY PICTURES ENTERTAINMENTQUALITY ASSURANCE GUIDELINES

The following is a summary of QC points that is a requirement for all QC operators to be familiar with prior to quality assurance evaluations of SPE product.

1.1 QC PREPARATION & PROCESS

a. Be sure that the QC report to be filled out is a current SPE Post Production Services approved report. Be sure that any information provided on the report is accurate and completely filled out. Incomplete and inaccurate reports will be rejected and returned for correction.

b. Before beginning a QC confirm the aspect ratio, audio configuration and timecode, check the RF, and or channel condition activity in at least five spots within the body of program. Bars and tone should reflect program levels. Check to verify if the timecode is correct. Do not continue QC if any of these defects are found.

c. Check slate and label information and verify if they are correct. Sony and vendor barcodes must be present on tape. Any corrections are to be made prior to shipping of element. Please make sure to include any copyright information on the QC report.

d. Be sure that equipment used for QC is properly calibrated and that the correct monitoring environment is used. Example, QC’s are not to be done “machine side” in tape rooms or in ill equipped rooms that will impede a quality QC process. Do not QC a tape on a machine from which it was made.

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e. Sony uses a numerical defect rating system which consists of a “1”,”2”,”2+” and a “3” Beginning with a “1” which equates to minor flaws within the program that would be barley perceptible and will not distract the viewer when viewed or heard in real time within the context of a scene. An example would be a slight stain not on a character or a faint audio tick in the mix.

f. A “2” rating will be perceptible and slightly distracting, but not repetitive. An example would be production related loose lip sync or moderate dirt or scratches not central to action.

g. A “2+” rating is immediately distracting and should be brought to the attention of the title supervisor. Examples would be audio static & distortion, a mid scene hue shift, titles out of safe action and film defects on a central character. Defects to be downgraded are left to the title supervisor’s discretion.

h. A “3” rating will be severe in nature and will cause rejection. A “3” is immediately perceptible and very distracting. Examples are incorrect aspect ratio, down conversion artifacts, tape stock damage, missing program material, poor RF, break in timecode, digital hits, excessive film dirt, damage and bad color match.

i. Keep reports consistent from operator to operator and report to report.j. Always list the timecode, describe a scene and if possible, a line of dialog to pinpoint the locations needed for

review.

1.2 EXAMPLES OF WHAT TO LOOK FOR

a. Induced Artifacts such as DI conversion and telecine errors, oversaturation on DI color, incomplete rendering or visible rendering errors, visible vfx mattes, poor quality vfx, excessively grainy picture, noisy video image, replicated or skipped frames, static or “dead” pixels, compromised resolution, incorrect video levels, digital hits as well as minor to severe film defects. Confirm on the highest source from which the defects came from and note it on the report.

List all noteworthy flaws. Do not assume that SPE is aware of all problems found within the program The telecine supervisor will be responsible for signing off any defects in question, b. Titles and texted scenes should fall within safe action and any text over picture including mains & ends and

subtitled material must be represented in the textless section at the tail of program. Note if mains or ends are letterboxed and if they are over picture.

c. Note color match errors if any in report. Any fixes are to be left to the title supervisor’s discretion.d. Note excessive audio and video levels on report. Note scene description or line of dialog. Any levels

Exceeding technical specs will rate a “3”.e. M & E tracks should be free of intelligible English and bleedthough. Any English shall be noted with

what is said on program. Song lyrics and foreign dialog will be listed as an “fyi” on the QC report. Note any missing or loose sound effects.

f. Edits should be clean and are to follow proper field cadence. No fields or frames of video or audio shall be lost when segmenting for a longplay dub. Programs shall begin at 01:00:00:00 field 1.

g. Breaks in control track, loss or interpolated timecode found on dubs will not be acceptable. h. Excessive film flaws such as heavy scratches, dirt, damaged film, black frames, missing frames

Degeneration of element, stains, poor audio quality, excessive hiss, dropouts and out of sync audioshould be noted and brought to the title supervisor’s attention for possible fixes.

1.3 TRACING ERRORS & DEFECTSa. Always make sure to verify if the audio & video defects are from the source element. Accurately

specify the source on the report. Errors on the source should be corrected as soon as possible as to meet the title supervisor’s deadlines. If audio is out of sync, contact telecine supervisor immediately. Any audio corrections, including for sync, which occur after the initial laydown must be approved by the telecine supervisor.

b. If a rejectable problem is found and is traced back to the source element indicate this on your report as a “3” with timecode and description of problem. The title supervisor will make a judgment. If the error was not listed on the source report, list this on the report too.

1.4 TEXTED AND SUBTITLED SCENES / PROGRAM SEGMENTATION AND RUN TIME

a. Note the “in” and “out” timecodes of each tested or subtitled scene present in the program and input on the report what text is present and whether or not the text if over picture or black. Also timeout the duration of the scenes or subtitling found within the program. Number and count the subtitled or texted

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scenes and confirm if the material is accounted for in the textless section. If any material is missing, note the scenes and the timecode of the missing material and reject the tape.

b. With “in” timecode location of 01:02:02:02 to the “out” timecode of 01:02:06:02 with “January 7th” asthe text over picture with the main focus being a green house the QC’er should list on the report with“01:02:02:02” in the timecode column and “Texted scene over picture: January 7th” on the column to the left and then note on the right column, “green house” in picture and “texted scene #1 out at 01:02:06:02”. The scenes length of: 04 seconds should be noted in the duration section of the report.When subtitling is involved it should be noted as “Subtitling over picture” on the report.

c. Always check the tape and confirm that the program begins at 01:00:00:00 field *1. If a program does not begin at the above listed timecode this is cause for automatic rejection and the tape is not to be sent out. Do not mistake film black for video black since the “Columbia” logo starts with a fade up from black.

d. For proper segmentation of DVD masters the timecodes listed on all reports must be frame / field ac- curate and tape timecodes must be sequential. Example: on part one the last frame and field of inten- ded picture and audio is at 01:50:01:01 field *1, then part two must begin at 01:50:01:01 field *2 as being the first frame and field of intended picture and audio. Or, if part one ends at 01:50:01:01 field *2 then part two must begin at 01:50:01:02 field *1. When counting the runtime do not count the first frame of black after each part. For example if part one ends at 01:50:00:00 field *2, then the runtime is 50:00:00 not 50:00:01. Always list which field the part of intended picture and audio ends on and input the information on the QC report. 1.5 RATING TABLE

#1 RATING: MINOR DEFECTS (NOT REJECTABLE BUT NOTABLE)BARELY PERCEPTABLE TO THE VIEWER

1. MINOR DIRT, STAINS OR SCRATCHES NOT CENTRAL TO ACTION OR ON CHARACTERS FACES.2. MINOR ELEMENT RELATED FILM SHIFTS (HORIZONTAL AND VERTICAL).3. ELEMENT RELATED MINOR FILM GRAIN AND SLIGHT STREAKING.4. ELEMENT RELATED FLICKER.5. SLIGHT ELEMENT RELATED CONTAMINATION / BREATHING.6. FILM WEAVE.7. SLIGHT JITTER8. MINOR BUMPS, SHIFTS, WARPS.9. MINOR ELEMENT RELATED CHROMA BREATHING.10. FILM WARPS.11. SLIGHT ELEMENT RELATED PARTIAL FLASH FRAMES.12. MINOR ELEMENT RELATED LOOSE SYNC.13. PRODUCTION RELATED TICKS, BUMPS, POPS, SLIGHT DISTORTION.14. SLIGHT HISS (AGED ELEMENTS ONLY).15. MONO TRACKS (AGED ELEMENTS ONLY)16. MINOR CGI GENERATED DEFECTS EX: SLIGHT NOISE, CONTAMINATION, ALIASING17. DATED EFX (OLDER ELEMENTS)

#2 & 2+ RATING: MARGINAL DEFECTS ALWAYS NOTABLE BUT ALSO MAY BE REJECTABLE SOMEWHAT PERCEPTABLE TO THE VIEWER. MARGINAL DEFECTS MAY BE SUBJECTIVE IN

NATURE, ALWAYS ERROR ON THE SIDE OF CAUTION WHEN NOTING, IF A BORDERLINE CALL IS TO BE MADE RATE THE ERROR IN QUESTION A “#3” AND CONSULT THE TELECINE SUPERVISOR

FOR POSSIBLE FIXES.

1. MODERATE DIRT, SCRATCHES OR STAINS NOT CENTRAL TO CHARACTER OR ACTION AND IS NOT DISTRACTING TO THE VIEWER. (PLEASE TAKE INTO CONSIDERATION THE 4X3 VERSION

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WHEN YOU ARE QC’ING A 16X9 VERSION. ANTICIPATE THAT THE 4X3 VERSION IMAGE WILL APPEAR TO BE BLOWN UP AND WILL CAUSE THE DEFECTS TO STAND OUT MORE). IN MOST CASES THE 16X9 DRS LIST WILL BE INCORPORATED INTO THE 4X3 LIST. TAKING THIS INTO CONSIDERATION THERE SHOULD BE VERY FEW DRS FIXES FOR THE 4X3 VERSION WHEN IT IS MADE.

2. ALL OF THE ITEMS LISTED IN THE #1 RATING COLUMN BUT SLIGHTLY MORE SEVERE IN DEGREE.

3. AREAS OF MARGINAL DIRT, STAINS, FILM DAMAGE, FILM DEBRIS NOT CENTRAL TO ACTION OR CHARACTERS. (NEWER RELEASES SHOULD BE AS CLEAN AS POSSIBLE).

4. COLOR MATCH HAS TO BE AS BEST AS POSSIBLE. (CONSIDER THE CONDITION OF THE ELEMENT WHEN EVALUATING).

5. SLIGHT PARTIAL FLASH FRAMES THAT ARE NOT TO BE DISTRACTING TO THE VIEWER.6. ELEMENT RELATED FILM SHIFTS AND WARPS THAT ARE NOT DISTRACTING TO THE VIEWER. 7. ELEMENT DEFECTS THAT WAS FIXED “BEST AS POSSIBLE” PLEASE NOTE A TIMECODE

LOCATION WHERE A FIX WAS MADE AND RESIDUAL PERCEPTABLE ANOMALIES MAY STILL EXIST. EXAMPLE ELEMENT RELATED HUE SHIFTS OR A SPOT WHERE A SEVERE FILM SHIFT WAS PRESENT AND NOW A MINOR SHIFT MAY EXIST.

8. MINOR RINGING / MOIRE. (BE AWARE THAT RINGING MAY BE MORE PRONOUNCED IN PAL THAN IN NTSC VERSIONS AND MAY NEED TO BE FIXED TO REDUCE REJECTIONS OVERSEAS PRONOUNCED RINGING SHOULD BE RATED A #3).

9. ELEMENT RELATED PRODUCTION AUDIO DISTORTION & STATIC, TICKS & POPS THAT DO NOT HINDER PROGRAM ENJOYMENT.

#3 SEVERE: ALWAYS NOTABLE & REJECTABLEA SEVERE ERROR IS VISUALLY OR TECHNICALLY OBJECTABLE REQUIRING A REJECTION OF

ELEMENT. THESE DEFECTS ARE TO BE BROUGHT TO THE TELECINE SUPERVISOR’S ATTENTION IMMEDIATELY.

1. WRONG TIMECODE, MISSING TIMECODE, NON-SEQUENTIAL TIMECODE, INTERPOLATED TIMECODE, BROKEN TIMECODE (SERVO HIT), UNMATCHED OR INCOMPLETE TIMECODE.

2. TAPES WITH POOR RF, POOR MACHINE INTERCHANGE.3. TELECINE HITS / ERRORS.4. WRONG TAPE STOCK, USED TAPE STOCK, DAMAGED STOCK, UNEVEN PACK, DAMAGED

CASSETTE CASING, INCORRECTLY LABELED TAPES.5. INCOMPLETE OR INCORRECT SLATE INFORMATION. 6. WRONG ASPECT RATIO.7. TAPES WITHOUT BARS & TONE UNLESS OTHERWISE ORDERED.8. TAPES MISSING AUDIO TRACKS.9. PROGRAMS NOT STARTING AT 01:00:00:00 FIELD 1.10. HORIZONTAL & VERTICAL BLANKING SHIFTS.11. REJECT TAPES WITH EXCESSIVE VIDEO LEVELS, OR BLACKS LEVELS THAT DIP OR

FLUCTUATE.12. REJECT TAPES WITH DIGITAL HITS (AUDIO OR VIDEO).13. LOW OR EXCESSIVLY HIGH AUDIO LEVELS.14. AUDIO PHASE ERRORS, REVERSED, MISSING LATE OR EARLY SFX. (CONFIRM IF IN MASTER OR

DOWNGRADED BY SUPERVISOR).15. REJECT TAPES WITH NOT ENOUGH BLACK AT TAIL.16. TAPES THAT ARE NOT SEGMENTED PROPERLY.17. DUBS MADE FROM WRONG OR UNAPPROVED MASTERS.18. REJECT FOR POOR COLOR MATCH.19. TEXT OR CREDIT MIS- SPELLINGS.20. REJECT FOR REPEATED SCENES OR EDITING ERRORS, MISSING SCENES, FRAMES OR FIELDS.21. REJECT FOR VISIBLE PRODUCTION EQUIPMENT. EXAMPLE: DOLLIES, BOOM MICS, TRUCKS,

CREW, MARKER TAPE, AND WIRE.22. TEXTLESS: REJECT TAPES THAT DO NOT HAVE MAINS OVER PICTURE, TEXT OVER PICTURE

AND SUBTITLED SCENES THAT ARE NOT REPRESENTED IN THE TEXTLESS MATERIAL UNLESS OTHERWISE ORDERED. (NOTE AND DESCRIBE THE MISSING AREAS ON THE REPORT).

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23. REJECT TAPES WHERE TITLES OR TEXT IS OUT OF ACTION SAFE AREA. (NOTE THE MISSING SCENE AND TIMECODE LOCATION ON THE REPORT AND REJECT).

CONVERSION ARTIFACTING, POOR CONVERSION QUALITY, MARGINAL TO EXCESSIVE RINGING / MOIRE.24. 3:2 ERRORS, PANNING ERRORS, FRAMING ERRORS, COLOR TIMER ERRORS MID SCENE HUE

SHIFTS, MARGINAL BREATHING AND FLICKER.25. MARGINAL TO SEVERE PARTIAL FLASH FRAMES, BUMPS, WARPS.26. RUNNING DIRT, SCRATCHES AND STAINS. (PLEASE NOTE DURATION BECAUSE REEL

REPLACEMENT MAY BE NECESSARY).27. EXCESSIVE OR LARGE DIRT, STAINS, REEL MARKERS, RUNNING SCRATCHES CENTRAL TO

CHARACTER OR ACTION, ANY MARGINALLY DISTRACTABLE DEFECTS NOT INTENDED FOR VIEWING. NOTE: POPULAR FEATURES SHOULD BE VIEWED WITH MORE ATTENTION TO DETAIL.

28. POOR OR MISSING DRS FIXES.29. MISSING SUBTITLTING, SUBTITLING OUT OF SAFE AREA.30. REJECT FOR BAD SYNC, MISSING MUSIC OR DIALOG, MISSING SFX, OBVIOUSLY LOOSE

DIALOG & SFX.31. DIALOG ON M & E TRACKS, UNLESS INTENDED.32. REJECT FOR MARGINAL TO SEVERE DISTORTION, STATIC, LOW AND EXCESSIVE AUDIO

LEVELS.33. REJECT FOR PHASE ERRORS, MUTES, HITS, BAD AUDIO PANNING, UNINTENDED

FLUCTUATING LEVELS, HIGH NOISE FLOOR, CAPSTAIN NOISE, PRODUCTION NOISE.34. FOR NEW RELEASE TITLES – TAPES WITHOUT FILLED MUSIC AND EFFECTS.

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EXHIBIT CPROGRAM OVERVIEW

Primary Title 8 TIROSRelease Year NO

Awards received (if any) NOProduct Type (Feature Film, Direct to Video, Made for TV, Television

Series)FEATURE FILM

MPAA Rating (or if MPAA Rating is unavailable, local censorship rating) PG-16

Theatrical release (yes/no, and if yes, where) NO

Box Office (US and/or local, if available) N/A

Number of Screens (US and/or local) N/ARun Time 87 MINUTES

Black & White or Colour COLOUROriginal Language of Production SPANISH

Genre (please indicate all that apply) DRAMA, ACTIONDirector BRUNO HERNANDEZ

Production Company SINEMA SA, MILLICENTO, ALEPH MEDIA

Cast

DANIEL ARAOZ, LUIS ZIEMBROWSKI, LETICIA BREDICE, MARIA NELA SINISTERRA, ROLY SERRANO,

ALEJANDRO FIORE

Sypnosis

Revenge. Juan and Vicente are brothers, but they are separeted by a deep hate that will do that Juan

returns to life to take his brother from the only thing that matters to him: his power. The story of

a love, disillusions and excesses.

Country of Origin (i.e. where the film is registered) ARGENTINA

CPB (Certificate of Brazilian Production), if applicable NO

Available in HD (yes/no) YES, IN DCP

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