On 10/22/2017 8:46 PM, Jeff Kreines wrote:
We did “cull” our original (usually reversal, back in the day) before
workprinting, to save every last penny.
As did big-budget Hollywood films -- that was the difference between the
director ending a take with a call of “cut,“ or “cut print.“
Cutting from workprint is a wonderful luxury. You can actually try out
different things, and different shot lengths, without damaging the original.
I agree about conforming and dust. Dust is a problem with reversal too,
but when cutting negative it is much worse -- a black speck against a
bright field is annoying, but it does remind one of the material nature
of celluloid. A white speck against dark, which happens all too often
with negative, what is that about? A lot more noticeable than a black
speck, and actually a little too revealing of the process, if you ask me...
Fred Camper
Chicago
_______________________________________________
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks
