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DEVELOPING AND PRINTING FOR EDITING 17
together. The result is a rough-assembly edited picture work print. Simultaneously, the sound work print is cut into sections, rearranged into the same sequence, and spliced together. The result is a roughassembly edited sound track work print. The master guide throughout all editing is the script.
Rough-Cut Work Print. At this point in the editing, each scene is trimmed to approximately its desired length and content. Although picture is on one strip of film and sound on another, both may be run in synchronism on a special editing machine to judge the effect of the combination. The result of this editing is a rough-cut ; there are now on hand a rough-cut picture work print and a rough-cut sound track work print.
Final-Cut Work Print. We are now ready for the finishing touches of the final cut. The synchronism of the picture and the sound track is checked and re-checked, and the film is viewed in the projection room for approval for release. Last-minute alterations are made where needed, and the film is approved.
Cutting the Originals
In the editing process just completed, many pieces of film remaining in the final picture have been handled again and again. During this handling, the film becomes scratched and marred as well as dirty. The work prints were made to avoid all handling of the original until the exact arrangement of the final film was determined.
The original picture with the original sound track and the edited picture and sound work prints are turned over to a " negative cutter. ' ' In this work, order rather than chaos is the rule when the edited film is edgenumbered and otherwise identified accurately. A negative cutter is trained to handle the film only with gloves. He cuts apart the original films, removes the portions to be deleted, and splices the remaining pieces to match the work prints exactly. He then splices on suitable leaders and their synchronization and printing marks, and the films are ready for release printing. The negative cutter is the fine jeweler of film handlers; his workmanship, neatness, and efficiency are the pride and joy of the whole film craft. When he makes a splice, no trace of smear of film cement appears to mar any part of any frame that he has handled ; film that he has assembled is just as clean, bright, and new as it was when it first came from the developing machine.