ABSTRACT
With today’s digital effects pipeline it is entirely possible for the modern digital compositor to spend his/her entire production career without getting an opportunity to interact with physical film. The first 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 film. This can create vocabulary problems when talking to clients. The client, however, works with film all day long. While he may not know what a pixel is, he expects you to know his terms and vocabulary.
