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Film Printing 1 2 3 4 5 6 7 8 9 10 1 2 3 Film Technology in Post Production 4 5 6 7 8 9 20 1 2 3 4 5 6 7 8 9 30 1 2 3 4 5 6 7 8 9 40 1 2 3111 This Page Intentionally Left Blank 1 2 3 Film Technology 4 5 6 in Post Production 7 8 9 10 1 2 Second edition 3 4 5 6 7 8 9 20 1 Dominic Case 2 3 4 5 6 7 8 9 30 1 2 3 4 5 6 7 8 9 40 1 2 3111 4 5 6 7 8 Focal Press 9 OXFORD AUCKLAND BOSTON JOHANNESBURG MELBOURNE NEW DELHI 1 Focal Press An imprint of Butterworth-Heinemann Linacre House, Jordan Hill, Oxford OX2 8DP 225 Wildwood Avenue, Woburn, MA 01801-2041 A division of Reed Educational and Professional Publishing Ltd A member of the Reed Elsevier plc group First published 1997 Reprinted 1998, 1999 Second edition 2001 © Dominic Case 2001 All rights reserved. No part of this publication may be reproduced in any material form (including photocopying or storing in any medium by electronic means and whether or not transiently or incidentally to some other use of this publication) without the written permission of the copyright holder except in accordance with the provisions of the Copyright, Designs and Patents Act 1988 or under the terms of a licence issued by the Copyright Licensing Agency Ltd, 90 Tottenham Court Road, London, England W1P 0LP. Applications for the copyright holder’s written permission to reproduce any part of this publication should be addressed to the publishers British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging in Publication Data A catalogue record for this book is available from the Library of Congress ISBN 0 240 51650 8 Photographs on page 63 courtesy of Jane Read For information on all Focal Press publications visit our website at www.focalpress.com Typeset by Florence Production Ltd, Stoodleigh, Devon Printed and bound in Great Britain 1 Contents 2 3 PREFACE TO THE SECOND INSURANCE, LIABILITY, 4 EDITION 9 TROUBLESHOOTING TESTS 32 5 Laboratory liability FILM TECHNOLOGY IN Troubleshooting 6 CONTEXT 7 INTRODUCTION 10 FILM STOCK 8 ORIGINS OF FILM AND VIDEO 12 35 mm FILM 34 Video Perforations 9 Digital imaging Aspect ratio 10 FILM AND VIDEO: THE 16 mm FILM 36 1 DIFFERENCES 14 16 mm Intermittent movement Super 16 2 Frame rate TYPES OF COLOUR FILM STOCK 38 3 Resolution Camera negative films 4 Contrast Colour reversal films Aspect ratio Print film 5 FILM VERSUS VIDEO – OR FILM Intermediate film stocks 6 WITH VIDEO 16 BLACK AND WHITE FILM 7 DIGITAL FILM 18 STOCKS 40 Digital image capture Black and white prints 8 Digital post production Black and white duplicating 9 Digital cinema stocks 20 Other black and white stocks POST PRODUCTION 1 PATHWAYS FILM PROCESSING 2 FILM VERSUS VIDEO ADDITIVE AND SUBTRACTIVE 3 PRODUCTION 20 COLOUR 42 Image quality Colour vision: additive colour 4 Production style Subtractive colour mixing: 5 Production costs filters and dyes 6 Preservation COLOUR SPECIFICATION AND TRADITIONAL SPROCKET EDIT, PERCEPTION 44 7 FILM FINISH 22 THE PHOTOGRAPHIC EMULSION 46 8 NON-LINEAR EDIT, FILM FINISH 24 FILM EMULSION LAYERS 48 9 Pos conform Integral masking NON-LINEAR EDIT, VIDEO DEVELOPING THE IMAGE 50 30 FINISH 26 Black and white development 1 Flat or compressed grade Colour development 2 Select negative and retransfer THE PROCESSING SEQUENCE 52 SUPERVISION 28 Backing removal 3 Lab liaison Colour positive sound 4 Post production supervisor redeveloper 5 LAB ESTIMATES 30 Drying Negative processing, tests, PROCESS CONTROL 6 push processing STANDARDS 54 7 Extraction of takes, or preparation Tests and comparisons 8 for telecine UNITS OF DENSITY 56 Work print (one-light or graded) Logarithmic scales 9 Telecine transfer Log E 40 Negative logging Density 1 Titles and optical effects GAMMA 58 Duplication Gamma in film systems 2 Answer print Gamma in video images 3111 Gamma in digital images CONTRAST AND LATITUDE 60 NEGATIVE MATCHING GRAININESS 62 KEYKODES 96 BLACK AND WHITE NEGATIVE 64 Offset frames Black and white processing NEGATIVE CUTTING 98 Processing instructions PREPARING FOR NEGATIVE PUSHING AND FLASHING 66 CUTTING 100 Flashing Traditional sprocket edit CROSS-PROCESSING 68 Negative cut from EDL BLEACH BYPASS (NEGATIVE) 70 Pos conform Colour negative Print rushes, EDL and pos Intermediates conform ALTERNATIVE STYLES OF PRINT 72 Select takes pos conform Bleach bypass and silver A mixed method retention CUTTING TO AN EDL 102 High-contrast print stocks Differences in terminology Dye transfer prints EXTRACTING SELECT NEGATIVE 104 FILM PRINTING Pos conform THE FILM PRINTING MACHINE 74 Scanning lists Contact printers Lock-off and change lists Optical printers SPLICES 106 COLOUR CORRECTION IN Tape splices for work prints PRINTERS 76 Cement splices for negative Printer control Polyester weld splices FILM GRADING TECHNIQUES 78 A- AND B-ROLLS 108 FILM GRADING FOR ANSWER Checkerboard cutting PRINT 80 Fades and dissolves Grading corrections Handles LAD EXPOSURE AND GRADING LINE-UP 82 LABORATORY PROCESSES FILM CLEANING 84 DUPLICATION 110 Particle transfer rollers Reasons for duplication Ultrasonic cleaners EMULSION GEOMETRY 112 CLEAN-UP PROCESSES 86 A-wind and B-wind raw stock Rewashing A-type and B-type geometry Hand cleaning SUPER 16: SPECIAL Spotting CONSIDERATIONS 114 Electronic solutions Optical or digital blow-up? WET GATE PRINTING 88 MAKING THE BLOW-UP (1) 116 Limitations of wet gate Blow-up interpos, contact printing dupe neg WORK PRINTS: NEGATIVE Negative cutting for blow-up REPORTS 90 MAKING THE BLOW-UP (2) 118 WORK PRINTS: SELECTING AND 16 mm contact interpos, SCREENING 92 blow-up dupe neg Selected takes Direct blow-up print ‘One-light’ or graded work Titles and opticals prints SUPER 35 120 Grey-scale cards OTHER FILM FORMATS 122 TECHNICAL PROBLEMS AT Three-perf pull-down, 35 mm RUSHES 94 Two-perf pull-down Sparkle (Multivision or Techniscope) Negative scratches Vistavision ‘Green’ negative 65 mm and 70 mm Positive scratches FRAMELINE MASKING 124 Fogging Reframing Old negative stock Repositioning 6 1 OPTICAL EFFECTS PRINTERS 126 RELEASE PRINTS IN USE 160 OPTICAL EFFECTS 128 Print care 2 ROSTRUM CAMERA 130 FILM STORAGE AND 3 Animation PRESERVATION 162 4 Rotoscoping Preservation TITLES 132 ARCHIVAL RESTORATION 164 5 Titles over live action Shrinkage 6 PRINTING FROM BLACK AND Fading 7 WHITE 134 Scratch and dirt removal Colour prints from black and Sound 8 white negative Digital restoration 9 MIXING BLACK AND WHITE 10 AND COLOUR FOOTAGE 136 TELECINE TRANSFERS Black and white mixed with TELECINE MACHINES (1) 166 1 colour Analogue or digital 2 Black and white from colour Image steadiness 3 Colour drain Illumination ARCHIVAL AND STOCK Colour correction 4 FOOTAGE 138 TELECINE MACHINES (2) 168 5 Tri-separations Flying spot 6 TRAILERS 140 CCD WHICH FORMAT: TAPE OR DISK?170 7 SOUND TRANSFER, EDIT, Analogue or digital 8 MIX, SYNC Component or composite 9 THE FINAL MIX 142 Sampling Print master Applications 20 Digital soundtracks FILM AND VIDEO FRAME 1 M&E tracks RATES 172 2 THE OPTICAL SOUND Transferring to PAL at 25 fps NEGATIVE AND PRINT 144 Film for NTSC 3 The projector Digital television – 24P 4 ANALOGUE SOUNDTRACK VIDEO TRANSFERS: HYBRID 5 PRINTS 146 FRAMES 174 Stereo soundtracks Transferring to PAL at 24 fps 6 Silver tracks Transferring to NTSC 7 High magenta and cyan tracks Hybrid frames 8 Black and white tracks MATCHING FILM AND VIDEO SYNCING PICTURE AND FRAME COUNTS 176 9 SOUND NEGATIVES 148 Pos conforming 30 Syncing with the image TIMECODE 178 1 ANALOGUE SOUNDTRACK Timecode standards QUALITY 150 In-camera timecode 2 Compression and LOGGING KEYKODES AND 3 equalization TIMECODES (1) 180 4 Density and volume LOGGING KEYKODES AND Loudness TIMECODES (2) 182 5 THX Interrupted telecine transfers 6 DIGITAL SOUNDTRACKS 152 SYNCHRONIZING RUSHES (1) 184 7 Dolby SR-D Syncing to film DTS Syncing at telecine transfer 8 SDDS Syncing after telecine transfer 9 SYNCHRONIZING RUSHES (2) 186 40 GRADING, ANSWER PRINT, Timecode on film RELEASE PRINTS Syncing sound while digitizing 1 THE ANSWER PRINT 154 Syncing for rushes screening 2 RELEASE PRINTS 156 FILM FOR TELECINE TRANSFER 188 3111 Subtitles Camera negative THE FILM PROJECTOR 158 Finished productions 7 GRADING ON TELECINE: SCANNING AND RECORDING 202 RUSHES TRANSFERS 190 Scanning Flat or compressed transfer Recording GRADING ON TELECINE: Digital effects MASTERS 192 CALIBRATING THE FILM MASKING FOR TV 194 RECORDER 204 Safe area DIGITAL GRADING 206 Standard TV DIGITAL EFFECTS FOR FILM 208 Pan and scan or letterbox Wire removal Super 35 and Super 16 Image repair DIGITAL TELEVISION AND Eliminating camera movement WIDESCREEN 196 Rotoscoping, cut and paste, Widescreen (16 × 9) set extension Widescreen for standard TV Colour manipulation Motion blur and grain DIGITAL PROCESSES KINE TRANSFERS: VIDEO TO DIGITAL RESOLUTION 198 FILM 210 Pixels Film recorders Bit depth Adapting the TV image for DIGITAL ORIGINATION 200 film Digital video DIGITAL CINEMA 212 Mixed origination 24P GLOSSARY AND INDEX 214 8 1 Preface to the second edition 2 3 When the first edition of this book was written, non-linear editing was 4 still a new technique, video was generally mastered onto one-inch 5 analogue tape and digital effects were restricted to a few big-budget 6 science fiction films. 7 It has taken less than 5 years for the scene to change on every front. Digital cameras have been used for both low-budget and block- 8 buster feature films, while film stocks and processes offer an ever wider 9 range of effects. Video grading techniques have become available for 10 a film finish, while television is becoming digital, widescreen and high 1 definition.
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