Business screen magazine (1946)

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Putting PIP through the film lab Bernie Barnett President EVS Color Center PIP is a unique audio-visual system. Although its film concept is unusual, there is nothing unusual or different in the techniques for handlini; the oris:inal preparation and duplication of the film. The completed master film can be turned over to any commercial film laboratory which processes and duplicates film. When the software producer or in-plant audio-visual department would like to enhance the visual impact of the PIP film by incorporating optical effects and animation, and does not have the facilities, this work can be assigned to a postproduction laboratory. A post-production laboratory is equipped to do any required optical effects and shoot animation sequences and artwork, in addition to commercial processing and duplication, hither laboratory also is capable of loading the PIP release priiUs into their visual cassettes. Here is how the posl-producium laboratory would handle the assignment. The original material for a I'll' film can be prepared from any combination of the following: 3.*^ mm film, sound or silent, negative or reversal; U>mm film, sound or silent, negative or reversal; Super Kmm film, sound or silent, negative or reversal; .35nim filmslrips, negatise or reversal; color transparencies. 3.*>mm to S\ 10; opaque artwork, charts and photographs; animation cells. If, for example, ail or most of the original film material is on 16mm, the laboratory prepares two separate 16mm films which for convenience we designate Roll 1 anti Roll 2. as shown in the processing system chart on the opposite page. Roll 1 contains all motion sequences liom motion picture film; Roll 2 contains all the still frames from artwork and transparencies, and animation sequences. Any existing 35nmi film footage can be reduced to I6mni and printed in Roll I; or, if there is ample footage, it can be prepared as a 35mm Roll I, and used in the same manner as the 16mm Roil I. The exact procedure will depend upon the laboratory's facilities. The client should prepare all m;iterial by numbering each original frame in consecutive order of appearance. Each roll of film to appear in Roll I should be identified not only by number, but also by calling out the specific scenes which are to be used. i.e.. Roll =1. frames 4.350 to 4.52.S. All opaque artwork and animation cells must be in a 3x4 jiroportion. Although they can be prep;ired in almost any size — from 3"x4" to 2l"x28"— 9"xl2" is the most convenient si/e for the laboratory to handle. .An additional 2 inches of background should be allowed on all sides of artwork to give the camera enough leeway to avoid any accidental photographing of edges. In addition to the animation cell? any artwork which has overlays als< should be pegged for accurate reg istration. Be sure the pegging is thi same used by the laboratory. Eaci piece of artwork and each animatio; cell must be identified by sequent numbers. The same sequential numberin should be applied to all transpi encies which are to be used. Si none of the standard sizes of trai parencies are in a 3x4 propi>rtion low a safe field which will allow thj subject to be cropped into propoi. tion. This can be just one edge c the transparency, or cropping int| any part of a transparency. As shown in the processing char, a single 16mm check print can b prepared b\ combining Rolls 1 an, 2 in the exact sequence and numbc ci frames required. This is done b, following a production shinuin schedule giving an exact frame-by frame rundown of up to the max mum of 3.600 frames in the 50 fct of PIP film. Preparing the Shooting Schedule I his IS the "kcv " to combinin all the components to make the com pleleil film. It is in the shootin schedule that the new frame speed are given for converting convention; 24 fps stock footage to any desire fps rate (IS. 12. S. etc.). Origin; f Im for PIP can be shot ;U the dc sireil fr;une speed without anv nee for conversion. Using this infiirma tion. the hiboratory is ;ible to deter J