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Opis: FOCAL PRESS London & Boston 1986, str. 208, stan db+ (zakurzona i podniszczona okładka) JĘZYK ANGIELSKI Whether you are a motion picture cameraman, editor, production executive or just a student of cinematography- the chances are that you know less about the work in the lab than you ought to. How it all happens is not really a mystery, only a neglected story. The story and its importance is the same to the makers of grand feature films, modest industrial documentaries and quick television commercials. This book takes you from rush printing through editing and cutting, to final presentation and post-production work for release copies. Now fully revised, the second edition takes account of new materials and procedures, and includes important coverage of media transfer between film and video. It demonstrates the advantages of standardized exchange of information: camera logs for picture and Sound rush printing reports, specifications for optical effect production, negative assembly and storage records. There is much about enlargement and reduction printing for changing the format from 16 to 35, from 35 to 70, from 8 to Super-8, and about the special requirements of films produced for television. And there is down-to-earth information on budgets and charges. You are sure to spend less if you read this book first. are practical guides to audiovisual techniques - in video, film, broadcasting and sound -'... covering comprehensively the craftsmen's skills, techniques, equipment, terminology and particularly the know-how essential in a professional job'. (American Cinematographer) Contents THE POSITION OF THE LABORATORY Front-end operations Release printing RUSH PRINT SERVICES Rush print viewing PREPARATORY WORK & ANSWER PRINTING First married print RELEASE PRINT MANUFACTURE Despatch preparation TYPES OF FILM Camera original materials Print materials FILM GAUGES Perforations FILM MANUFACTURE & IDENTIFICATION Perforation and winding details STOCK EDGE NUMBERS Identifying the position of a frame IMAGE FORMATS Wide gauge film EMULSION POSITIONS IN 16MM IMAGES Projection THE B & W NEGATIVE & POSITIVE PROCESS Print making THE B & W REVERSAL PROCESS Reversal exposure Copying reversal images THE COLOUR NEGATIVE & POSITIVE PROCESS Colour negatives Colour prints THE COLOUR REVERSAL PROCESS Camera reversal films PROCESSING MACHINES Sprocketless processors NEGATIVE PROCESSING EQUIPMENT REVERSAL PROCESSING EQUIPMENT Colour reversal processing PRINTING MACHINES CONTACT PRINTERS Soundtrack printing PRINTER LIGHT CONTROL Exposure steps STEP PRINTERS Control of printing light OPTICAL PRINTERS Light sources Special effects CONTINUOUS OPTICAL PRINTERS Multiple printing POSITIVE PROCESSING EQUIPMENT Soundtrack striping GENERAL FILM HANDLING EQUIPMENT 1 Measuring equipment Synchronisers GENERAL FILM HANDLING EQUIPMENT 2 Width of splices NEGATIVE IDENTIFICATION & PACKING Care of film PROTECTION IN TRANSIT Air freight CAMERA REPORTS Film Producers Association report form Other report forms CAMERA REPORT DETAILS Essential details Other information NEGATIVE MAKE-UP FOR RUSH PRINTING Make-up into rolls Full-roll rush printing RUSHPRINTGRADING(I) Black-and-white rushes Colour rushes RUSH PRINT GRADING (2) One-light printing RUSH PRINTING RECORDS Additive printers Subtractive printers EXPOSURE RATING Acceptable exposure variations Effects of exposure on image quality RUSH PRINT REPORTS Abbreviations RUSH PRINT DELIVERY REPORTS Negative defects NEGATIVE MOVEMENT RECORDS & REPRINTS Reprints NEGATIVE STORAGE RECORDS Storage by customers SIMPLIFIED RECORD SYSTEMS Returning film to the production company OPTICALS: TRANSITION EFFECTS Fades Dissolves Wipes OPTICALS: OTHER SPECIAL EFFECTS OPTICALS: IMAGE COMBINATION Split screen shots Adding background to studio shots MARKINGS FOR OPTICAL EFFECTS Fades Dissolves Wipes Hold and freeze frames Other effects SPECIFICATIONS FOR OPTICAL WORK Examples OPTICAL SPECIFICATION SHEETS (1) First example Second example OPTICAL SPECIFICATION SHEETS (2) Additional reminders OPTICAL SPECIFICATION SHEETS (3) A & B Printing ~- METHODS OF DUPE PRINTING Black-and-white negative Colour negative Colour reversal intermediate Dupes from reversal materials PRINTING OPTICALS: MASTERS & DUPES Fade-out Fade-in Dissolve Optical printers PRINTING OPTICALS: CRIs Fades PRINTING OPTICALS: WIPES Straight horizontal wipe PRINTING OPTICALS: SUPERIMPOSED TITLES Reversal originals PRINTING OPTICALS: COLOUR LETTER TITLES Making mattes TITLE AREAS 35mm wide-screen prints Anamorphic 35mm 35mm film for Television use 16mm film PHOTOGRAPHIC SOUNDTRACK TRANSFER Work of the sound department Making photographic soundtracks PHOTOGRAPHIC SOUND CAMERA LOGS A record of what you want PHOTOGRAPHIC SOUND PROCESSING Density testing PHOTOGRAPHIC SOUND PRINTING Cross-modulation tests NEGATIVE CUTTING: WORK PRINTS PICTURE AND TRACK SYNCHRONISATION The sync-plop Picture and Sound preparation WORK PRINTS: REEL MAKE-UP Printing lengths LEADERS (1) Leader patterns LEADERS (2) SMPTE Leader EBU and ISO Leaders CUE MARKS Form of cue marks NEGATIVE SELECTION FOR CUTTING The cutting log CUTTING PICTURE & TRACK NEGATIVES Adding printer cues A & B CUTTING A & B cutting of negative CHECKER-BOARD CUTTING Splices ZERO CUT & AUTO-OPTICALS Automatic printing effects LIMITATIONS OF A & B CUTTING Length of effects Length of scenes Proximity of effects NEGATIVE CLEANING Cleaning methods PROTECTIVE FACILITIES Black-and-white Colour GRADING FOR THE ANSWER PRINT (1) Communications Video analysers GRADING FOR THE ANSWER PRINT (2) Electronic preview Photographic tests ANSWER PRINT STAGES Liaison with the production team ANSWER PRINT PRESENTATION Viewing conditions—35 mm Viewing conditions—16mm TRAILERS & POST-PRODUCTION WORK Preparing material for trailers Other post-production work CHANGES OF FORMAT Reduction and enlargement Alterations of frame format Printers ENLARGEMENT PRINTING: 16MM T0 35MM Super-16 ENLARGEMENT PRINTING: 35MMTO70MM Anamorphic negatives Flat negatives 16mm originals UNSQUEEZE PRINTING Prints for television from anamorphic negatives REDUCTION PRINTING: 35MMto 16MM Printing methods REDUCTION PRINTING TO 8MM & SUPER-8 Multi-rank intermediates MAGNETIC SOUND Specification of magnetic stripes Sound synchronization RELEASE PRINTING FROM 35MM NEGATIVE Making 16mm prints RELEASE PRINTING FROM 16MM REVERSAL Making 35mm prints RELEASE PRINTING FROM 16MM NEGATIVE 16mm prints 35 mm prints RELEASE PRINT METHODS Splices in release prints POSITIVE ASSEMBLY WORK After-treatment of prints PROCESSING FILM FOR TELEVISION Black-and-white prints Colour prints VIEWING PRINTS FOR TELEVISION USE Viewing conditions THE USE OF FILM ON TELEVISION Documentary subjects Full-length drama subjects and series Film inserts Advertising spots and commerci. MEDIA TRANSFER: FILM TO VIDEOTAPE Telecine systems Film requirements MEDIA TRANSFER: VIDEOTAPE TO FILM Transfer methods LABORATORY CHARGES & BUDGETING General principles TERMS OF BUSINESS Rectifying faults IN CONCLUSION FURTHER READING GLOSSARY |
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