Forced Processing
Forced processing is most simply defined as over-developing
the original in an attempt to compensate for under-exposure
in the shooting. We
say, "attempt to compensate" because
along with over-development of the original comes
such undesirable side effects as increased grain
and higher contrast. These factors, added to the
loss of detail in shadow areas due to under-exposure,
often combine to produce pictures of less than
satisfactory quality.
Depending on the amount of under-exposure
and the lighting of a particular scene, a more
pleasing picture can sometimes be made from an
under-exposed negative that has been processed
normally. In other cases, forced processing will
help to produce a better result.
Unless you can shoot a doubtful
scene twice, one for normal processing and once
for forced processing, you will have to make the
decision to force process ahead of time. Your
best guide to shoot a test before production begins,
and if than cannot be done, to provide a representative
end-test that can be processed and evaluated by
you and the laboratory to determine how your film
should be developed. topˆ
Flashing
Depending on the aims of the filmmaker, film can
be flashed in two different ways:
- Neutral flashing, to lower
the apparent contrast and to sometimes improve
shadow and highlight detail.
- Color flashing, to create
certain specific moods by lowering contrast
of the three color layers unequally, according
to the artistic goal of the filmmaker.
In either kind of flashing,
the film is subjected to a low intensity exposure.
This exposure causes an increase in the minimum
density of each color layer in negative films
and a decrease in the maximum density of each
color layer in reversal films. When the negative
film has been printed, the effect on the screen
is similar to the effect on reversal films, with
the shadow areas appearing lighter than they would
without the flashing.
In neutral flashing, the change
in each color layer is approximately the same.
In color flashing, the change is greatest in the
color layer most sensitive to the color of the
flash.
Thus, flashing with a red filter
causes a change in the density of the red sensitive
layer, and this results in a print that has a
red cast in the shadow areas. The extent of the
red cast depends upon the amount of the red flash
received by the original film.
Flashing can be done either
before or after camera exposure. The decision
to flash or not to flash is based entirely on
the subjective goals of the filmmaker. Filmmaking
is an art form, and flashing is another technical
tool to assist in accomplishing the creator’s
goal.
Any form of flashing requires
a very close working relationship between the
cameraperson and the film laboratory. topˆ
Selecting
Print Takes
Generally, 16mm productions have dailies made
of all original footage to avoid excessive handling
of the original. In 35mm, the laboratory will
supply prints of selected takes. A copy of the
camera report sheets must be included with the
order. topˆ
Edge
Numbers
These numbers, also referred to as footage or
key numbers, are sequentially printed along one
edge of the film outside the perforations. The
numbers on 35mm film manufactured prior to 1990
are located every 16 frames (12 inches apart).
On 16mm film they are every 20 frames (6 inches
apart) or every 40 frames (12 inches apart). The
numbers are applied during manufacture either
by photographic exposure (visible only after processing)
or printed with visible ink on the base side of
the film. All 16mm and 35mm camera original film
is ink edge numbered.
Several changes in the format
for edge numbers were introduced during the later
part of 1990. 35mm film now has both human readable
edge numbers and machine readable information
printed as a latent image on its edge at the time
of manufacture. In addition to an incrementing
number, a zero-frame reference mark, consisting
of a filled circle approximately 0.025 to 0.030
inches (0.64 to 0.76 mm), is printed adjacent
to the digit of the human readable edge number
that is closest to the tail of the film. The frame
immediately above the zero-frame reference is
aligned with the centerline of a perforation.
The spacing from one key number to the next is
64 perforations. A mid-foot human-readable and
a mid-foot foot machine-readable edge number will
be printed halfway between each key number. The
mid-foot human-readable edge number consists of
a zero-frame reference mark and the adjacent edge
number that is nearer the head end of the roll
plus an offset in perforations that is always
32 perforations. All characters of the mid-foot
edge number are approximately ½ size. topˆ
Edge
Number Chart 1 - Agfa
Edge
Number Chart 2 - Eastman Kodak
Edge
Number Chart 3 - Fuji
Special
Edge Numbering
When there is a large amount of sync sound in
a production, some editors line up all the slates
with a magnetic track and have both the picture
daily prints and the magnetic tracks ink edge
numbered in matching sequence. This is particularly
valuable in editing when two or more cameras have
been used at the same time, such as a speech or
a live stage performance. The picture rolls from
all cameras sync with a single track and has corresponding
inked edge numbers. It must be noted, however,
that when this is done, the ink edge numbers cannot
be used for conforming since the corresponding
edge number will not appear on the original. The
printed through numbers must be used for conforming.
A word of caution concerning
edge numbers. Regardless of the kind of edge numbers
you use, when your dailies are returned, check
to be certain that the edge numbers are legible
and in sync before starting to cut. Avoid using
rewound raw stock for shooting, since this places
the latent numbers in descending order from the
head and also places them on the wrong edge of
the film for printing. topˆ
(Figure
3 - 16mm Motion Picture Camera Aperture Image)
Blow-ups
(from 16mm or Super 16mm to 35mm)
Particular care must be taken when shooting for
blow-ups to 35mm. The 16mm frame is enlarged considerably
when blown up to 35mm, resulting in a larger apparent
grain size. To maintain the finest grain structure
on the 16mm original, proper exposure and normal
processing is essential. Flashing or forced processing
should be avoided, as both processes tend to increase
grain size. Camera lenses and magazines should
be thoroughly checked and tested.
A properly composed 16mm negative
can be blown-up to 35mm at a 1.33:1 aspect ratio.
This print can be used for television and projected
theatrically in the United States and Europe.
Refer to "Selecting the
Camera Aperture and Format" for guidelines
on composing the image to allow for wide screen
projection.
Super 16mm production
yields a larger image on the 16mm original negative
that matches the wide screen aspect ratio more
closely than a standard 16mm frame. The increase
in the useful picture area of a Super 16mm frame
improves the image quality obtainable in a 35mm
wide screen blow-up. (Figure
4 - 35mm Motion Picture Camera Aperture Image)
topˆ
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