ABSTRACT
The laboratory copy of the camera report is taped to the top of each can. The picture editorial runner drives to the laboratory and picks up the one-light workprints and then drives to sound transfer and gets the rolls of single-stripe audio track. With evolving laboratory techniques and digital intermediates, there is no longer any reason to actually cut the negative, in the traditional fashion. Many laboratories offer services for handling the daily sound rolls as well, including syncing the slates. The producer decides either how much to pay out of pocket to an assembly-line style of delivery, or if the film's own crew will personally do the work, adding the care and passion that a project's own picture editorial team is bound to bring to the effort. The world of file formats, innovations in laboratory delivery and specific project demands dictate that sound editor communicate closely with the laboratory service that sound editor are using.
