You don’t want excess glue at the splices and you don’t want to pick up any extra dirt and dust on the negative if it can be avoided. The negative cutter would also insert any optical effects created by an optical house, including titles, transitions, and visual effects.Īny mistakes made during negative cutting were and are irreparable, so it is important that a negative cutter be detail-oriented, precise, and works cleanly. ![]() ![]() It was this person’s job to match the edits on the work print by physically cutting and splicing the original camera negative, which up until then was intact. Once a cut was “locked” (approved by the director and the execs) the edited work print and accompanying notes and logs were turned over to the negative cutter. This process was often messy with many film splices, grease pencil marks on the work print to indicate dissolves, and so on. Then a team of film editors and assistants would handle the creative edit of the story by physically cutting and recutting this work print until the edit was approved. ![]() The film lab would print positive copies (work print) of the raw negative footage. Up until the 1970s dramatic television shows, feature films, and documentaries were shot and post-produced on film.
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