Film producers have the option of either transferring to videotape directly from the developed camera negative or editing the negative and printing the result. The transfer of already-completed features and film programs is always performed from prints or intermediate elements that were originally produced as a part of the print-finishing process.
By way of example, consider a typical finishing process for a feature film. Once the camera original negative has been developed, it is separated take by take according to the camera reports into two categories: print takes, which are believed to be the best takes of each scene, and the remaining takes, which may not be needed. The selected takes are spliced together in order, with slates, for color grading. In the colorgrading process, the negatives are viewed on an electronic color analyzer, which displays a positive color image on a video screen. The analyzer operator, known as a timer, adjusts the relative amounts of red, green, and blue in each shot for the most satisfactory rendition. The numerical values of these settings, the printer points, are used to control the printer during rush printing and to inform the director of photography of the accuracy of the exposures. Any camera or stock defects are also reported at this time. The negative rolls are then printed as color or black-and-white dailies, or rushes, and are delivered to the production company for viewing and editing. After the shooting has been concluded, editing continues until a fully edited work print with a matching dialogue sound track is completed. Any transitional or optical special effects required are marked on the work print. The original negative is then carefully cut and spliced to exactly match the editor’s work print and instructions. Optical effects are produced separately and are cut into the negative in the proper location.
Because the repeated use of the cut master negative for multiple print duplication would put this valuable element at risk, a sequence of intermediate elements are created from which release prints can be made on a production-line basis. An intermediate printing element, such as a duplicate negative (dupe neg), interpositive (IP), or color reversal intermediate (CRT), created from the original negative is reviewed by the timer for final color balancing. The timer selects the proper printer lights that will yield a uniformly balanced print acceptable to the production organization. Finally, the printing master element, with the final light value corrections and a fully mixed sound track, is loaded onto a highspeed printer for production of the final release prints.
I found the whole process fascinating.