ABSTRACT
With today ’ s digital effects pipeline, it is entirely possible for the modern digital compositor to spend his or her entire production career without getting an opportunity to interact with physical fi lm. The fi rst time the shot will be encountered is probably when seeing it on a monitor. The last time will probably be when seeing it projected in the screening room. Unless you shoot some wedges, you may never actually touch a real frame of fi lm. This can create vocabulary problems when talking to clients. The client, on the other hand, works with fi lm all day long. Although he or she may not know what a pixel is, the client expects you to know his or her terms and vocabulary.
