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