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AFTER THE FILM editor arranges the workprint scenes in the desired order, cuts them to the desired length, then splices them together, the result is an “edited workprint."
EDGE-NUMBERING — Tiny serial numbers inkprinted at intervals on one edge of film cut editing time and simplify matching of workprint with orig.nal and sound track.
16mm WORKPRINT EDITING
To protect 16mm original film from wear and tear of handling during edit¬ ing most producers utilize a workprint. Here are some tips on ordering workprints and for using them in the preparation of the camera original for release prints.
'Y'he chiee purpose of editing with the aid of a workprint is to protect the original film. In both theatrical and non-theatrical film production, 16mm and 35m.m, the purpose is the same. All editing, re-editing, {)ost-recording of sound and other han¬ dling utilizes the workprint (or dailies) in order to spare the original film or camera negative from unnecessary and dangerous (to the film) extra handling.
While it is true that workprint editing does in¬ volve additional expense, the few cents extra cost ])er foot for the edge-numbered workprint is cheap insurance for your original. Actually the cost for a work])rint is relatively small compared to what it would cost to restage and re-shoot a scene because it was scratched, wrongly cut or otherwise rendered unusable through editing the original.
In 16mm film production, the term workprint is universally understood. But because workprint edit¬ ing sometimes involves some conflict in terminology within the industry, let us clarify the matter at this
point: Both theatrical and television film producers tend to use well-established 35mm terms regardless of whether they produce in 35mm or 1 6mm, where¬ as the non-theatrical producer’s terminology is partly borrowed from the theatrical film maker, partly invented to suit his own needs.
Thus theatrical film production, which is basically 35mm, utilizes a 35m,m negative in the camera from which is made, on the producer’s order, daily prints or “dailies” of selected scenes. The dailies are printed on positive film and the negative key num¬ bers (latent image numbers exposed at intervals along one edge of the undeveloped raw stock by the manufacturer) are {uinted through to the daily print along with the [ficture image. As a rule, the dailies are timed to even out any exposure varia¬ tions in the negative. Only after the daily scenes are cut together is the edited film known as a workprint. In theatrical film production workprint means “edited dailies.”
The procedure is different in 16mm film produc
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AMERICAN CINEMATOGRAPHER, NOVEMBER, 1962