Working w/ Film Workprint
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When your camera original returns from the lab you will have two identically sized rolls. One is the camera original, the other is your workprint. The camera original normally has white or other colored leader on it. Workprint rarely has leaders. Store your camera original in a safe place. Protect it in every way possible. You have spent a great deal of time, effort and money getting the images onto that negative. Without it you don't have a film.
The workprint is the working copy of your original negative, so it is OK to cut, splice, scratch or tear the workprint. However, for the sake of showmanship and to avoid any future confusion, keep your workprint in top shape. DO NOT RUN IT ONTO THE FLOOR. Always run it on to a reel or into a lined trim bin. Make sure the lab has printed the latent edge numbers from the original on to your workprint. If they haven't printed through, return it to the lab for a re-do. Your workprint will likely be in a A-wind position. If not, flop it over and rewind it into the A-wind position.
transferring sound to 16mm magstock
Usually, while your film is being processed, you will schedule the transfer of your 1/4" sound rolls to 16mm Fullcoat. To save time and money, specify if you want all takes transferred or only circled takes.
syncing workprint with magstock
When syncing your workprint with 16mm Magstock, start by building a leader 8 feet long before the sync mark and 8 feet long after your sync mark for both pix and sound.
Mark your sync marks legibly. Be sure to double check your sync often, looking for sync errors. You can do this by marking your tail leader with end sync marks for reference. If they're out you're out of sync.
Do not use "junk" or "used" picture or mag stock as fill or slug. It can cause out-of-sync problems. Always use fresh 3M stock for filling your sound track. It is well worth the few extra cents. At the end of your sound track(s), make a definite circle at the point of last pix and sound, then leave at least 6 feet of run-out leader.
edge Coding (AKA ink coding)
Once you have pix and sound in sync, you can send your workprint and magstock out to edge coded (aka Ink Coded). These yellow ink numbers are a constant sync reference between your seperate pix and sound track. This is possible because the corresponding numbers are printed every 16 frames on both pix and sound track. You can edit dialogue productions without edge coding, but it immensely easier with these bright yellow numbers.
editing the film
Your film is created in this phase. Forget the script. Forget the production phase. You now have the actual footage from which your final result will emerge. Your film is made magic or ruined in this phase.
Before actually cutting the film, remove your temporary 8+8 foot long picture and sound leaders at the head of your pix and sound track rolls used for syncing. Replace them with a ten foot long leader before your sync mark and 8 feet after that is then spliced to your academy leader.
Before marking fades and dissolves, make sure you understand the proper marks and the theory behind them ("A" Roll/ "B" Roll).
If you have titles at the head or the end of your film, slug and mark them as part of your cut workprint. Titles should be organized and shot when you begin the editing phase so they will be ready before your last days of editing.
online film editing
creating a film print from work print: negative cutting, first trial composite answer print and release print.
Once you have completed your mix, deliver your camera original negative and your cut workprint to a negative cutter. Leave this important step to a pro. Any mistakes here will alter your film forever. The negative cutter matches the workprint "final cut" to the camera original and precisely cuts your negative to match. The 16mm negative will be A/B rolled (checker boarded) to hide the splices and make dissolves possible.
Be sure to mark your workprint clearly and properly; showing fades and dissolves. It is important that you mark unintentional splices well. The negative cutter is only as good as your marks. If the cutter blows it, it's likely due to poor marks.
Once the negative is cut into A/B Rolls send them with your Master Mix 1/4" or Magstock with your color correction notes to the lab for your first trial composite answer print.
first trial composite answer print
The answer print is sometimes referred to as an A/B Answer Print. It is the lab timer's first attempt (first trial) at combining the elements from the negative A/B rolls and sound mix into a single (composite) answer print. You will check this print for color corrections, how fades and dissolves look, and correct sound sync. Most answer prints will be about 95% right on.
After screening the answer print you will note any needed corrections and send these notes to the lab. They will be incorporated and a second answer print will be struck. The second answer print does not cost as much as the first.
A 16mm Optical Negative Track will be made from your Master Mix, which will print with the A/B Rolls while the lab is making your answer print. Be sure to budget for this, there is an additional charge.
If your film could be considered experimental (ie Color footage combined with black and white, or extremely short cuts, etc.) as opposed to a so-called "normal" film, additional printing rolls ("C" and "D" Rolls) will have to be prepared, which means there will be additional printing charges for answer prints.
Release Print
Release prints are the additional prints intended for release and screening made after your answer prints. The charge for these is substantially lower than answer prints because the time consuming start and stop/ trial and error timing process is over and they can simply turn the machines on and let it run.
Excerpted from: http://www.24fps.com
This article was acquired on the "fair use" basis.
We encourage You to visit the source website for more information on this topic.
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