posted 02-25-2004 10:09 PM                      

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ISBN:0240514637 Paper Text
ISBN:0240516508 Trade Paperback

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posted 02-26-2004 09:18 AM                      

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the intricacies of negative cutting to match a non-linear edit and the process of grading and regrading for the answer print.

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Wonderful! It's on my list. Thanks!

posted 03-01-2004 08:06 PM                      

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I think the best solution for a problem like this is to have someone edit who knows how to splice

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posted 03-01-2004 08:34 PM                       

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The original negative is spliced by a specialist negative matcher: someone who should very much know how to splice, and also what type of splicer to use.

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Negative Cutter - The person who cuts and assembles the original negative to match the edited workprint, which then goes to the lab for the answer print.

Negative Matcher - same as Negative Cutter.

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JR Post has modeled precision throughout the whole process of negative conforming. The last step in the process for the negative cutter is to piece the final cuts together by the "hot splice" method. This tough, often frustrating job, needs knowledgeable talent to do it right. JR Post's staff averages over 10 years of hands-on experience. For the filmmaker that means the right cut the first time!

JR Post daily works with Super 35 mm, 35 mm, Super 16 mm and 16 mm film formats. We are familiar with both 3- and 4-perf film and can handle scope or anamorphic productions. For the student, we can set up an interview time with one of our staff members to show you what materials we will need from you so that you are ready for negative cutting before any costly errors are made.

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When a film is being printed for cinema, it will need to be cut exactly as per the final projected version. Optical effects such as fades and dissolves generally require a checker-board cut (called an A+B roll). Here, every reel is cut as two rolls of neg, with shots running alternately on each: with black spacing on roll A where a shot occurs on roll B, for example. Basic opticals are created by overlapping certain shots between the rolls, and carefully timing the printing process to create fade or dissolve effects in the print roll. N.B.: For a 16mm finecut film, every shot will have to be cut in this way. The 35mm frame is wide enough to splice shots together without the cement join intruding into the picture area. 16mm is half the width, so this is not possible. Using the A+B joining method, the cement splice overlaps into the black spacing following each shot.

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posted 03-02-2004 01:35 AM                      

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This is really poorly worded no matter how you look at it.

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In 35mm negative, the frameline between successive frames is wide enough to allow a cement splice without intruding into the picture area. (Anamorphic productions leave a very small frame line area, and a splicer making a narrower join must be used). However, in 16mm, there is no room for an overlapping splice between frames, and so a different technique is used.

Checkerboard cutting
In checkerboard cutting, alternating shots are made up into two rolls (A and B) interspaced with black spacing. The cement splice is made off-centre, so that the entire splice overlaps into the black spacing rather than into the last frame of picture. Each roll is printed in succession onto a single roll of print stock.
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refer to the second post on this page for the source

posted 03-16-2004 04:04 PM                    

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I was told by someone from The Passion production that it was D.I. (for one thing to correct the color of the lead actor's eyes) but all these fat splices doesn't make sense unless there was a lot of cutting after digital.

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posted 03-16-2004 04:40 PM                    

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FANTASIA comes to mind -- Disney insisted that the masks be properly set for 1.37, which certainly was quite a bit of effort for the majority of theatres that could normally only mask to 1.85.

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