Appendix 1

When Shooting on Film
will be 4 × 3 letterbox. The DV Cam tapes will be captured at 29.97 FPS and then reverse telecined
back to 23.98 FPS.
As with the standard defi nition workfl ow, the third system requires more organization and more
telecine time. However, as the fi rst telecine is only a work copy, it can be a more affordable standard
defi nition. And, there is no need to do more than basic color correction, so it can go quite fast. The
second telecine is expensive high defi nition; however, only shots actually used in the edit are telecined,
so there is no time wasted color correcting footage that will never be used. Be sure to inform
the telecine facility what your workfl ow plan is as they will need to perform some extra prep prior
to telecine to help guide the second telecine. Get window burns for time code and key code information
and a telecine log. This workfl ow will require reverse telecine to ensure accurate key code
information.
Finishing on Film
If you are planning to fi nish on fi lm, the telecine and capture stages are unique to this fi nish. Make
sure to read and understand Chapter 5 on fi lm fi nishing. There are many steps along the way that are
unique to the fi lm fi nish workfl ow.
Three ways to prepare for a fi lm fi nish are:
• Perform a basic “work copy” telecine of all of the camera negative to DVCam tapes. Then workprint
all camera negative or only circled takes.
• Work-print all camera negative or only circled takes. Perform a basic “work copy” telecine of all
of the negative to DVCam tapes.
• Perform a basic “work copy” telecine of all of the camera negative to DVCam tapes.
On projects where work print will be made and cut, there are several options. Because work print is
expensive, you may not want to print everything. Most 35 mm projects will only print certain takes.
This is called “circled takes” because the takes to be printed are circled on the camera and sound
reports. When the director gets a take they like, they call “print it” and the take is circled. This is
not available for 16 mm.
Usually, the lab cuts these takes out of the camera rolls and splices them into “selects rolls.” This is
why many projects telecine all of the negative fi rst; the splices can throw off the telecine reading of
the edge code (key code) numbers. Cutting up the lab rolls after the telecine will throw off the database
showing which camera rolls are in which lab rolls, but this can be avoided if the selects are
compiled into “selects rolls” that match the lab rolls. In other words, lab roll one becomes selects
one and outtakes one. If the selects were pulled before the telecine, be sure to inform the telecine
operator of this, it can through the key code information off.
You may also choose to print ink edge code numbers on the work print if you are planning to do
fi nal editing to the work print. Some editors prefer to do fi nal tightening up of the edit after the work
print is conformed to the digital cut list, and the ink numbers can make matching the changes to the
negative cut list go faster. The cinema Tools database supports ink edge code numbers, but few
projects use inked numbers anymore.
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