How the work is done
The parts of the job that decide whether a frame holds: depth, colour, continuity, evidence, and the order things have to happen in.
A completed environment either holds up or it does not; the causes of failure are ordinary and repeatable. A flat painting behaves like a single sheet as soon as the camera moves. The moment a colourist touches it, a painting that was matched to a monitor by eye detaches from the plate. When several artists divide a location, it drifts through one sensible choice after another, until the final shot stops matching the first. When no photograph of a period location has survived, the build rests on evidence of very uneven quality, and knowing the rung a detail came from separates a plausible frame from a guess. The pages in this section lay out those mechanics; they are not meant to teach the craft, but so the person reviewing the work knows what to inspect and what to request. Reading them should shorten a review, because the note that matters gets easier to identify.
