ur-grue Picture Lock Checklist
What This Skill Does
Generates a comprehensive picture lock checklist — confirming that all editorial, legal, and technical requirements are met before the cut is locked and downstream work (music, grade, sound mix, titles) begins.
When To Use This Skill
- The fine cut has been approved and you are preparing to lock the picture — you need a systematic check that nothing has been missed before all downstream departments begin work against the locked edit
- A broadcaster or distributor has requested confirmation that the programme is locked before commissioning the grade, sound mix, or music recording
- You are the post-production supervisor and need to hand off a locked edit to the composer, colourist, and sound mixer with confidence that no further editorial changes will be required
- The director is about to sign off on picture lock and you want to pre-empt the problems that typically surface after lock (missing release forms, uncleared archive, incorrect running time)
What You Need To Provide
Required: The final cut running time and the contracted running time (including any broadcaster-specific requirements such as commercial break points); the number of contributors who appear on screen; whether archive footage, stock footage, or third-party music appears in the cut; the broadcaster or distributor (if applicable). Optional: The delivery specification document from the broadcaster; a list of signed release forms and their status; a list of archive and music licences and their status; any outstanding fine cut notes that were deferred; the target delivery date; whether the programme requires accessibility deliverables (subtitles, audio description, signed version).
How the Assistant Approaches This
- Builds a checklist organised by department: Editorial, Legal/Clearances, Technical, Accessibility, and Delivery — each section contains the items that must be confirmed before lock
- Populates each item with the specific details from the production information provided — not generic placeholders but actual counts (number of contributors, number of archive clips, specific running time)
- Flags items that are commonly missed at picture lock: running time that does not match the contracted duration including titles and end credits, contributors who appear on screen but whose release forms are incomplete, archive footage that is in the cut but not yet licensed, and music cues that are temp tracks not yet replaced or cleared
- Produces a sign-off block at the end for director, producer, and post-production supervisor to confirm lock
Output Format
Structured checklist document with tick-box items grouped by section. Sections: Editorial Sign-Off (all notes addressed, running time confirmed, no outstanding re-edits), Legal and Clearances (release forms, archive licences, music licences, any legal review), Technical (frame rate, aspect ratio, resolution, audio channels match delivery spec), Accessibility (subtitles, audio description, signing if required), and Delivery (deliverables list, delivery format, delivery date). Each item is a clear yes/no check. Items that cannot be confirmed are flagged as blockers. Output ends with a Lock Decision: ready to lock, lock with conditions (listing the conditions), or do not lock (listing the blockers). Total length: 400–700 words.
Quality Criteria
- Running time check compares the actual cut duration against the contracted duration including titles and credits — not just programme content
- Every contributor who appears on screen is accounted for in the release forms check — the checklist counts contributors against signed forms
- Archive and music items are checked individually, not as a blanket "all cleared" statement
- Technical items reference the specific delivery specification if one was provided
- The lock decision is a clear verdict with specific conditions or blockers — not a vague recommendation
- Sign-off block includes named roles with space for date and confirmation
Example
Input
Programme: Still Waters — a single documentary (1 x 58 minutes) Broadcaster: Channel 4 (UK) Final cut running time: 58 minutes 12 seconds (including titles and end credits) Contracted running time: 58 minutes ± 30 seconds, 4-part structure (3 commercial break points) Contributors on screen: 7 (all interviewed); 4 additional people visible in observational footage Release forms: 7 signed (interview contributors); 2 of 4 observational contributors have signed; 2 outstanding Archive footage: 3 clips from a national newspaper archive (2 licensed, 1 pending); 1 clip from a private family collection (verbal agreement, no signed licence) Music: Original score by commissioned composer (contract signed); 1 pre-existing song used under a scene (licence pending) Accessibility: Subtitles required; audio description required Delivery date: 15 May 2026 Outstanding fine cut notes: None — all addressed
Output
PICTURE LOCK CHECKLIST — STILL WATERS Cut: 58:12 | Contracted: 58:00 ± 30s | Broadcaster: Channel 4
Editorial Sign-Off
- All fine cut notes addressed — none outstanding
- Running time within contracted range (58:12 against 58:00 ± 30s)
- Confirm 4-part structure: Three commercial break points must fall at natural editorial breaks. Verify break-point timings against Channel 4 delivery spec before lock.
- Director has viewed the final fine cut
- No outstanding re-edits requested
Legal and Clearances
Release Forms:
- 7 interview contributors — all release forms signed
- BLOCKER: 2 of 4 observational contributors have not signed release forms. If these individuals are identifiable on screen, their footage cannot remain in the locked edit without signed forms. Options: obtain signatures before lock, obscure faces in the locked edit, or remove the footage.
Archive Licences:
- 2 of 3 newspaper archive clips — licences confirmed
- BLOCKER: 1 newspaper archive clip — licence pending. Confirm licence before lock or remove the clip. If the clip is removed, check whether the surrounding edit still works without it.
- BLOCKER: 1 private family collection clip — verbal agreement only, no signed licence. A verbal agreement is not sufficient for broadcast delivery. Obtain a signed licence or letter of permission before lock.
Music Licences:
- Original score — composer contract signed, all rights assigned
- BLOCKER: 1 pre-existing song — licence pending. This must be cleared before lock. If the licence cannot be obtained, the scene must be re-edited with alternative music before locking.
Technical
- Confirm frame rate matches Channel 4 delivery spec (typically 25fps for UK broadcast)
- Confirm aspect ratio (16:9) and resolution (HD minimum) match delivery spec
- Confirm audio channel layout matches delivery spec (typically stereo M&E + stereo final mix)
- Confirm no temp effects, placeholder titles, or guide tracks remain in the timeline
Accessibility
- Subtitles: commission from locked edit (do not begin before lock)
- Audio description: commission from locked edit (do not begin before lock)
- Confirm accessibility delivery format with Channel 4
Delivery
- Confirm full deliverables list from Channel 4 (master file, textless elements, M&E, stills, press kit)
- Delivery date: 15 May 2026 — confirm post-production schedule (grade, sound mix, online) works backward from this date
- Confirm delivery format and file specification
Lock Decision
DO NOT LOCK — 4 blockers must be resolved first:
- 2 observational contributors without signed release forms — obtain or obscure before lock
- 1 newspaper archive clip without confirmed licence
- 1 private collection clip without signed licence
- 1 pre-existing song without confirmed licence
Recommended action: resolve release forms and archive licences (items 1–3) this week. Escalate the music licence immediately — if it cannot be cleared within 5 working days, begin re-editing the scene with alternative music so that lock is not delayed.
Once all four blockers are resolved, the cut is ready to lock.
Sign-Off
| Role | Name | Date | Confirmed |
|---|---|---|---|
| Director | |||
| Producer | |||
| Post-Production Supervisor |
Known Limitations
- This checklist is based on the information provided by the production. If release forms, licences, or technical specifications are described inaccurately, the checklist will reflect those inaccuracies.
- Broadcaster delivery specifications vary and change. The technical section uses general UK broadcast standards as defaults — always verify against the specific delivery document from your commissioner.
- This checklist does not replace a post-production supervisor's professional judgement. It is a systematic aid, not a substitute for the specialist knowledge required for broadcast delivery.
- The checklist cannot verify that archive footage is correctly attributed or that music licences cover the specific usage in the programme — it checks that licences exist, not that they are correctly scoped.