The American cinematographer (Jan-Dec 1963)

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to produce the required release prints on a continu¬ ous printer without the need for scene-to-scene light changes. There is a price advantage also where 35mm re¬ lease prints are made from a 35mm dupe negative that is fully timed and requires no light changes in the printing operation. Obviously, the less work the laboratory must do in making each release print, and the faster a printing machine can be safely operated, the lower the price of the printed product to the customer. Regarding the matter of quality, the fewer the intermediate steps the better the product — as a rule. As one might reasonably expect, 35mm prints from edited 35mm camera negative are more pleasing visually than prints made from a dupe negative. One can observe this quality in screened prints where it is possible to compare optical effects portions with other footage in the same picture. Similarly, the 16mm reduction print may be ex¬ pected to have better definition, contrast, and over¬ all tonal quality than the 16mm contact print made from a reduction-printed negative. Nevertheless, the 16mm contact prints from reduction negatives we FLOW CHARTS below show progressive steps in the production of release prints from 35mm B&W negative, also the 35/32mm method for producing 16mm positive prints from B&W films. Charts are repro¬ duced from series of Producer Service Bulletin issued by General Film Laboratories, Hollywood. see today are, on the average, very good — especially when the 16mm reduction negative is made on 35/32mm stock and the prints are also made on 35/32mm positive, then slit to 16mm widths. This dual-printing method combined with today’s im¬ proved film stocks, modern printing methods, and close control of processing procedures results in 16mm contact prints very close in quality to the reduction print — and without involving the normal hazards of reduction printing. In actual practice, most small orders are produced from the 35mm camera negative — both 35mm con¬ tact and 16mm reduction. Most 35mm release print orders— up to around 200 prints — are normally made from the camera negative. But larger orders in 35mm, and 16mm release orders of 100 to 200 prints, will usually be produced from a dupe nega¬ tive. In either case, the producer will require certain 35mm fine grain positive and 35mm dupe negative materials. In printing from an edited single-roll camera negative, all dissolves and other special visual effects are provided by making optical dupe negative sec¬ tions of these effects which are cut into the main body of the camera negative. This process requires the making of (1) fine grain 35mm positives of the scenes involved in the effects, and (2) the projection (or optical) printing of the 35mm dupe negative sec¬ tions with the effects incorporated. Continued on Page 54 . o GENERAL PRINTING f LOW CHART ■o GENERAL THE 35/32mm METHOD FOR PRODUCING 16mm PRODUCE*! ' SERVICE I 0 6UUETin| U 35mm BLACK/WHITE NEGATIVE PRODUCER 1 « SERVICE I C. BULLETIN 1 U POSITIVE PRINTS FROM BLACK/WHITE FILMS REBIJCTICN PRINTING REDUCTION PRINTING SOUNO MASTER RE RECORDING 35/32 SOUND NEGATIVE CONTACT PRINTING CONTACT PRINTING 35mm BfW Master Positive 35/32mm B/W Positive Print REDUCTION PH1HHNG .(INTACT PRINTING RECOCT ivN PBINTINS r*C» PRINT l PfOUI'.TlON SOUND MASTER 35mm SOUND NEGATIVE 16mm SOUND NEGATIVE AE-RECOROiNf. CONTACT PRINTING BfW::? Negative 35mm BfW Master Positive 35mm B/W Release Print 35mm B/W Daily Work Print AMERICAN CINEMATOGRAPHER, JANUARY, 1963 25