"A Primer for Filmmaking" by Roberts and Sharples is a good introduction to
You can record your sound, and have the lab dub it to 16mm magfilm. A
flatbed editing machine or a synchronizer/squawkbox combination with an
editing bench will allow you to edit the workprint or the original film
in synch with the sound.
If you're editing the workprint you would then conform the camera
original to match the workprint, or have the lab do it.
You then send the lab the magfilm with the sound and the camera original
that has been edited to the lab. The lab makes an optical sound film from
the magnetic one, and then they do two contact prints from the original to
the print and from the optical negative to the print.
Note that some of the processes that Roberts and Sharples talk about aren't
available from labs anymore. You can't get electroprinting any more to
bypass the sound negative. You can't get a direct color positive to color
positive print any more. So if you're shooting color reversal, you will
have to have an internegative made to get a final color print.
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