Film Technology in Post Production

Dominic Case

Part 1 Film Technology in Context; Chapter 1 Introduction; Chapter 2 Origins of Film and Video; Chapter 3 Film and Video: the Differences; Chapter 4 Film versus Video – or Film with Video; Chapter 5 Digital Film; Part 2 Post Production Pathways; Chapter 6 Film versus Video Production; Chapter 7 Traditional Sprocket Edit, Film Finish; Chapter 8 Non-linear Edit, Film Finish; Chapter 9 Non-linear Edit, Video Finish; Chapter 10 Supervision; Chapter 11 Lab Estimates; Chapter 12 Insurance, Liability, Troubleshooting Tests; Part 3 Film Stock; Chapter 13 mm Film; Chapter 14 mm Film; Chapter 15 Types of Colour Film Stock; Chapter 16 Black and White Film Stocks; Part 4 Film Processing; Chapter 17 Additive and Subtractive Colour; Chapter 18 Colour Specification and Perception; Chapter 19 The Photographic Emulsion; Chapter 20 Film Emulsion Layers; Chapter 21 Developing the Image; Chapter 22 The Processing Sequence; Chapter 23 Process Control Standards; Chapter 24 Units of Density; Chapter 25 Gamma; Chapter 26 Contrast and Latitude; Chapter 27 Graininess; Chapter 28 Black and White Negative; Chapter 29 Pushing and Flashing; Chapter 30 Cross-processing; Chapter 31 Bleach Bypass (Negative); Chapter 32 Alternative Styles of Print; Part 5 Film Printing; Chapter 33 The film printing machine; Chapter 34 Colour Correction in Printers; Chapter 35 Film Grading Techniques; Chapter 36 Film Grading for Answer Print; Chapter 37 LAD Exposure and Grading Line-up; Chapter 38 Film Cleaning; Chapter 39 Clean-up Processes; Chapter 40 Wet Gate Printing; Chapter 41 Work Prints: Negative Reports; Chapter 42 Work Prints: Selecting and Screening; Chapter 43 Technical Problems at Rushes; Part 6 Negative Matching; Chapter 44 Keykodes; Chapter 45 Negative Cutting; Chapter 46 Preparing for Negative Cutting; Chapter 47 Cutting to an EDL; Chapter 48 Extracting Select Negative; Chapter 49 Splices; Chapter 50 A- and B-Rolls; Part 7 Laboratory Processes; Chapter 51 Duplication; Chapter 52 Emulsion Geometry; Chapter 53 Super 16: Special Considerations; Chapter 54 Making the Blow-up (1); Chapter 55 Making the Blow-up (2); Chapter 56 Super 35; Chapter 57 Other Film Formats; Chapter 58 Frameline Masking; Chapter 59 Optical Effects Printers; Chapter 60 Optical Effects; Chapter 61 Rostrum Camera; Chapter 62 Titles; Chapter 63 Printing from Black and White; Chapter 64 Mixing Black and White and Colour Footage; Chapter 65 Archival and Stock Footage; Chapter 66 Trailers; Part 8 Sound Transfer, Edit, Mix, Sync; Chapter 67 The Final Mix; Chapter 68 The Optical Sound Negative and Print; Chapter 69 Analogue Soundtrack Prints; Chapter 70 Syncing Picture and Sound Negatives; Chapter 71 Analogue Soundtrack Quality; Chapter 72 Digital Soundtracks; Part 9 Grading, Answer Print, Release Prints; Chapter 73 The Answer Print; Chapter 74 Release Prints; Chapter 75 The Film Projector; Chapter 76 Release Prints in Use; Chapter 77 Film Storage and Preservation; Chapter 78 Archival Restoration; Part 10 Telecine Transfers; Chapter 79 Telecine Machines (1); Chapter 80 Telecine Machines (2); Chapter 81 Which Format: Tape or Disk?; Chapter 82 Film and Video Frame Rates; Chapter 83 Video Transfers: Hybrid Frames; Chapter 84 Matching Film and Video Frame Counts; Chapter 85 Timecode; Chapter 86 Logging Keykodes and Timecodes (1); Chapter 87 Logging Keykodes and Timecodes (2); Chapter 88 Synchronizing Rushes (1); Chapter 89 Synchronizing Rushes (2); Chapter 90 Film for Telecine Transfer; Chapter 91 Grading on Telecine: Rushes Transfers; Chapter 92 Grading on Telecine: Masters; Chapter 93 Masking for TV; Chapter 94 Digital Television and Widescreen; Part 11 Digital Processes; Chapter 95 Digital Resolution; Chapter 96 Digital Origination; Chapter 97 Scanning and Recording; Chapter 98 Calibrating the Film Recorder; Chapter 99 Digital Grading; Chapter 100 Digital Effects for Film; Chapter 101 Kine Transfers: Video to Film; Chapter 102 Digital Cinema;