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unspooled lengths. Dust, scratches and fingermarks are your enemies.
In negative-positive, they are even more objectionable since dirt on the negative appears white on the print. Moreover, the contrast of the print is higher than that of the negative and fingermarks are consequently emphasised.
This, then, is one reason why you need a cutting copy when you use the negative-positive system for sound. With this mute picture film, you can edit to your heart's content. If you cut too much out of a shot, you can even replace it, however obviously. Although this is a positive picture, it is still not the one the audiences see. Consequently a few extra splices are of no importance.
Edge 'Numbering
During editing, it is the cutting copy which receives all the harsh treatment. The negative is safely spooled up, out of harm's way. Only when you are completely satisfied with the flow of edited picture and rehearsed commentary, do you touch the negative. All you have to do then is to cut and splice the negative to match the cutting copy frame for frame.
This process is greatly simplified if you shoot your picture negative on a film stock which is edge-numbered, i.e., during manufacture a number has been printed in the margin at every foot along the film. This number appears on the cutting copy, alongside the picture and forms a convenient way of identifying the negative from which a particular shot has been printed. When the shot is one of several similar "takes" this is a great help. Moreover, by aligning corresponding edge numbers on negative and print, you can tell immediately at which frame to cut the negative. A good editor often chooses carefully the precise frame for a cut and his choice should be perpetuated in the negative and subsequent prints.
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