ABSTRACT

An easy to follow, quick reference introductory guide for beginning professionals and students in filmmaking and postproduction. It explains all film laboratory procedures in the context of the wide range of technology that is used by filmmakers, explaining what happens and why at every stage. A technical understanding of film processing and printing, telecine and laboratory and digital processes will help you get the best results for your film. The book is particularly useful for those who have come to film making from other media - video or digital.



The book is based on the author's own experience as a lab technician and technical film consultant and provides answers to many frequently asked questions. The different pathways for film production and postproduction are demonstrated as well as the function of the lab at each stage of the process. The complete range of services is offered, with particular emphasis on the often confusing requirements for super 16 and the blow up to 35mm, the intricacies of negative cutting to match a non-linear edit and the process of grading and regrading for the answer print.

This new edition includes:
* An update on all digital formats of image and sound
* Revision sections on Super 16, Super 35
* Additional information on syncing rushes at telecine and to digital images
* The latest telecine machines
* A new, clear and simple glossary

part |10 pages

Film Technology in Context

chapter |2 pages

Introduction

chapter |2 pages

Origins of Film and Video

How it all started.

chapter |2 pages

Film and Video: the Differences

Different in almost every detail.

chapter |2 pages

Film versus Video – or Film with Video

Learning to live together.

chapter |2 pages

Digital Film

The child of a mixed marriage.

part |14 pages

Post Production Pathways

chapter |2 pages

Traditional Sprocket Edit, Film Finish

As it was always done …

chapter |2 pages

Non-linear Edit, Film Finish

… As it's being done now …

chapter |2 pages

Non-linear Edit, Video Finish

… And another variation on a theme.

chapter |2 pages

Supervision

Get the right information, right from the start.

chapter |2 pages

Lab Estimates

The lab quote is just an estimate.

chapter |2 pages

Insurance, Liability, Troubleshooting Tests

‘All care but no responsibility.'

part |8 pages

Film Stock

chapter |2 pages

35 mm Film

chapter |2 pages

16 mm Film

Once called substandard, but a viable alternative.

chapter |2 pages

Types of Colour Film Stock

Different stocks have different characteristics for different purposes.

chapter |2 pages

Black and White Film Stocks

Not all stocks are sensitive to all colours.

part |32 pages

Film Processing

chapter |2 pages

Colour Specification and Perception

Roses are red, violets are blue.

chapter |2 pages

The Photographic Emulsion

Film must be made before you can make a film.

chapter |2 pages

Film Emulsion Layers

Coats of many colours.

chapter |2 pages

Developing the Image

Light changes the chemical properties of the emulsion.

chapter |2 pages

The Processing Sequence

The film passes through a long sequence of processes.

chapter |2 pages

Process Control Standards

Consistent processing leads to predictable results.

chapter |2 pages

Units of Density

Density values may be added together.

chapter |2 pages

Gamma

The slope of the curve measures the contrast.

chapter |2 pages

Contrast and Latitude

Film can handle a wider tonal range than television.

chapter |2 pages

Graininess

Faster films have larger grain.

chapter |2 pages

Black and White Negative

A simple process, but capable of some variation.

chapter |2 pages

Pushing and Flashing

Ways of seeing further into the shadows.

chapter |2 pages

Cross-processing

Variations from normal.

chapter |2 pages

Bleach Bypass (Negative)

Silver in the image makes richer shadows.

chapter |2 pages

Alternative Styles of Print

Several ways to vary the end result.

part |22 pages

Film Printing

chapter |2 pages

The film printing machine

chapter |2 pages

Colour Correction in Printers

Red, green and blue are controlled independently.

chapter |2 pages

Film Grading Techniques

Predicting the results of printing …

chapter |2 pages

Film Grading for Answer Print

… To interpret the director's ideas.

chapter |2 pages

LAD Exposure and Grading Line-up

First, get the grey card right, then the rest of the scene will follow.

chapter |2 pages

Film Cleaning

Care for the film … and for the environment.

chapter |2 pages

Clean-up Processes

Try cleaning the film before attempting electronic cures.

chapter |2 pages

Wet Gate Printing

Make scratched film look as good as new.

chapter |2 pages

Work Prints: Negative Reports

The work print is the first and best check of what was shot.

chapter |2 pages

Work Prints: Selecting and Screening

Print only what you want, the way you want it.

chapter |2 pages

Technical Problems at Rushes

Check that all's well … so far.

part |14 pages

Negative Matching

chapter |2 pages

Keykodes

chapter |2 pages

Negative Cutting

Copying the editor's final decisions

chapter |2 pages

Preparing for Negative Cutting

Plan your cut so you have the right information.

chapter |2 pages

Cutting to an EDL

Timecodes from the EDL are translated into film frame edge numbers.

chapter |2 pages

Extracting Select Negative

Select full takes of negative before attempting a frame-exact cut.

chapter |2 pages

Splices

Clean and careful handling of the negative is vital.

chapter |2 pages

A- and B-Rolls

Alternating shots allows smoother transitions.

part |32 pages

Laboratory Processes

chapter |2 pages

Duplication

chapter |2 pages

Emulsion Geometry

Take care that the image is the right way round.

chapter |2 pages

Super 16: Special Considerations

More from less – possible if it's done the right way.

chapter |2 pages

Making the Blow-up (1)

Decide on your duplication path at budget time.

chapter |2 pages

Making the Blow-up (2)

More alternatives.

chapter |2 pages

Super 35

Using the negative area more efficiently.

chapter |2 pages

Other Film Formats

One size fits all.

chapter |2 pages

Frameline Masking

See what you want to see, and nothing more.

chapter |2 pages

Optical Effects Printers

Putting the right images together …

chapter |2 pages

Optical Effects

… By careful exposure in the right place.

chapter |2 pages

Rostrum Camera

Combine front-lit art with film images.

chapter |2 pages

Titles

Give credit where it's due.

chapter |2 pages

Printing from Black and White

Black and white and colour don't mix easily …

chapter |2 pages

Mixing Black and White and Colour Footage

… But special effects are possible using the right stock.

chapter |2 pages

Archival and Stock Footage

Using other people's pictures.

chapter |2 pages

Trailers

Cutting a long story short.

part |12 pages

Sound Transfer, Edit, Mix, Sync

chapter |2 pages

The Final Mix

chapter |2 pages

The Optical Sound Negative and Print

Preparing the signal for optical reproduction.

chapter |2 pages

Analogue Soundtrack Prints

An image of the sound wave.

chapter |2 pages

Syncing Picture and Sound Negatives

The soundtrack is printed alongside and ahead of the image.

chapter |2 pages

Analogue Soundtrack Quality

The quality of a good soundtrack.

chapter |2 pages

Digital Soundtracks

Three rival systems – you may need all of them.

part |12 pages

Grading, Answer Print, Release Prints

chapter |2 pages

The Answer Print

chapter |2 pages

Release Prints

Many copies, each one the same as the next.

chapter |2 pages

The Film Projector

Success depends on the proper presentation.

chapter |2 pages

Release Prints in Use

Keeping the show running.

chapter |2 pages

Film Storage and Preservation

Preserve the fleeting images or they will be lost forever.

chapter |2 pages

Archival Restoration

Preserve the fleeting images or they will be lost forever.

part |32 pages

Telecine Transfers

chapter |2 pages

Telecine Machines (1)

chapter |2 pages

Telecine Machines (2)

Reading the image – scanning line by line or collecting pixels.

chapter |2 pages

Which Format: Tape or Disk?

Videotape formats vary in cost, quality and application.

chapter |2 pages

Film and Video Frame Rates

A frame doesn't always equal a frame.

chapter |2 pages

Video Transfers: Hybrid Frames

It's not always possible to cut film on the same frames as video.

chapter |2 pages

Matching Film and Video Frame Counts

Try out the cut on a print first: you only have one chance with the negative.

chapter |2 pages

Timecode

A powerful system for numbering video frames by the clock.

chapter |2 pages

Logging Keykodes and Timecodes (1)

Relating each video frame to a unique film frame …

chapter |2 pages

Logging Keykodes and Timecodes (2)

… Must maintain frame accuracy throughout the transfer.

chapter |2 pages

Synchronizing Rushes (1)

Putting the right sound with the pictures …

chapter |2 pages

Synchronizing Rushes (2)

… And keeping everything in time.

chapter |2 pages

Film for Telecine Transfer

Take care of the negative.

chapter |2 pages

Grading on Telecine: Rushes Transfers

Highlights and shadows can be adjusted to get the best video image.

chapter |2 pages

Grading on Telecine: Masters

Digital colour correction brings even more power to the colourist.

chapter |2 pages

Masking for TV

The picture doesn't always fit the frame.

chapter |2 pages

Digital Television and Widescreen

Many ways of fitting the screen.

part |16 pages

Digital Processes

chapter |2 pages

Digital Resolution

chapter |2 pages

Digital Origination

Different horses for different courses.

chapter |2 pages

Scanning and Recording

Painting by numbers.

chapter |2 pages

Calibrating the Film Recorder

The digital image is prepared for film.

chapter |2 pages

Digital Grading

Painting by numbers.

chapter |2 pages

Digital Effects for Film

The digital artist – spectacular magician or invisible mender.

chapter |2 pages

Kine Transfers: Video to Film

Capturing TV images for posterity and TV ads for the cinema …

chapter |2 pages

Digital Cinema

The cinema of the future – but only when it's better, cheaper and quicker.