FOCAL PRESS London & Boston 1986,  str. 208, stan db+ (zakurzona i podniszczona okładka)

JĘZYK ANGIELSKI

  

Whether you are a motion picture cameraman, editor, production executive or just a student of cinematography- the chances are that you know less about the work in the lab than you ought to. How it all happens is not really a mystery, only a neglected story.
The story and its importance is the same to the makers of grand feature films, modest industrial documentaries and quick television commercials. This book takes you from rush printing through editing and cutting, to final presentation and post-production work for release copies.
Now fully revised, the second edition takes account of new materials and procedures, and includes important coverage of media transfer between film and video. It demonstrates the advantages of standardized exchange of information: camera logs for picture and Sound rush printing reports, specifications for optical effect production, negative assembly and storage records. There is much about enlargement and reduction printing for changing the format from 16 to 35, from 35 to 70, from 8 to Super-8, and about the special requirements of films produced for television. And there is down-to-earth information on budgets and charges. You are sure to spend less if you read this book first.

are practical guides to audiovisual techniques - in video, film, broadcasting and sound -'... covering comprehensively the craftsmen's skills, techniques, equipment, terminology and particularly the know-how essential in a professional job'.
(American Cinematographer)


Contents
THE POSITION OF THE LABORATORY
Front-end operations
Release printing
RUSH PRINT SERVICES
Rush print viewing
PREPARATORY WORK &
ANSWER PRINTING
First married print
RELEASE PRINT MANUFACTURE
Despatch preparation
TYPES OF FILM
Camera original materials
Print materials
FILM GAUGES
Perforations
FILM MANUFACTURE &
IDENTIFICATION
Perforation and winding details
STOCK EDGE NUMBERS
Identifying the position of a frame
IMAGE FORMATS
Wide gauge film
EMULSION POSITIONS IN
16MM IMAGES
Projection
THE B & W NEGATIVE & POSITIVE
PROCESS
Print making
THE B & W REVERSAL PROCESS
Reversal exposure
Copying reversal images
THE COLOUR NEGATIVE &
POSITIVE PROCESS
Colour negatives
Colour prints
THE COLOUR REVERSAL
PROCESS
Camera reversal films
PROCESSING MACHINES
Sprocketless processors
NEGATIVE PROCESSING
EQUIPMENT
REVERSAL PROCESSING
EQUIPMENT
Colour reversal processing
PRINTING MACHINES
CONTACT PRINTERS
Soundtrack printing
PRINTER LIGHT CONTROL
Exposure steps
STEP PRINTERS
Control of printing light
OPTICAL PRINTERS
Light sources
Special effects
CONTINUOUS OPTICAL PRINTERS
Multiple printing
POSITIVE PROCESSING
EQUIPMENT
Soundtrack striping
GENERAL FILM HANDLING
EQUIPMENT 1
Measuring equipment
Synchronisers
GENERAL FILM HANDLING
EQUIPMENT 2
Width of splices
NEGATIVE IDENTIFICATION &
PACKING
Care of film
PROTECTION IN TRANSIT
Air freight
CAMERA REPORTS
Film Producers Association report form Other report forms
CAMERA REPORT DETAILS
Essential details
Other information
NEGATIVE MAKE-UP FOR
RUSH PRINTING
Make-up into rolls
Full-roll rush printing
RUSHPRINTGRADING(I)
Black-and-white rushes
Colour rushes
RUSH PRINT GRADING (2)
One-light printing
RUSH PRINTING RECORDS
Additive printers
Subtractive printers
EXPOSURE RATING
Acceptable exposure variations
Effects of exposure on image quality
RUSH PRINT REPORTS
Abbreviations
RUSH PRINT DELIVERY REPORTS
Negative defects
NEGATIVE MOVEMENT RECORDS & REPRINTS
Reprints
NEGATIVE STORAGE RECORDS
Storage by customers
SIMPLIFIED RECORD SYSTEMS
Returning film to the production company
OPTICALS: TRANSITION EFFECTS
Fades
Dissolves
Wipes
OPTICALS: OTHER SPECIAL
EFFECTS
OPTICALS: IMAGE COMBINATION
Split screen shots
Adding background to studio
shots
MARKINGS FOR OPTICAL EFFECTS
Fades
Dissolves
Wipes
Hold and freeze frames
Other effects
SPECIFICATIONS FOR OPTICAL
WORK
Examples
OPTICAL SPECIFICATION
SHEETS (1)
First example
Second example
OPTICAL SPECIFICATION
SHEETS (2)
Additional reminders
OPTICAL SPECIFICATION
SHEETS (3)
A & B Printing    ~-
METHODS OF DUPE PRINTING
Black-and-white negative
Colour negative
Colour reversal intermediate
Dupes from reversal materials
PRINTING OPTICALS: MASTERS
& DUPES
Fade-out
Fade-in
Dissolve
Optical printers
PRINTING OPTICALS: CRIs
Fades
PRINTING OPTICALS: WIPES
Straight horizontal wipe
PRINTING OPTICALS:
SUPERIMPOSED TITLES
Reversal originals
PRINTING OPTICALS: COLOUR
LETTER TITLES
Making mattes
TITLE AREAS
35mm wide-screen prints
Anamorphic 35mm
35mm film for Television use
16mm film
PHOTOGRAPHIC SOUNDTRACK
TRANSFER
Work of the sound department
Making photographic soundtracks
PHOTOGRAPHIC SOUND
CAMERA LOGS
A record of what you want
PHOTOGRAPHIC SOUND
PROCESSING
Density testing
PHOTOGRAPHIC SOUND
PRINTING
Cross-modulation tests
NEGATIVE CUTTING: WORK
PRINTS
PICTURE AND TRACK
SYNCHRONISATION
The sync-plop
Picture and Sound preparation
WORK PRINTS: REEL MAKE-UP
Printing lengths
LEADERS (1)
Leader patterns
LEADERS (2)
SMPTE Leader
EBU and ISO Leaders
CUE MARKS
Form of cue marks
NEGATIVE SELECTION FOR
CUTTING
The cutting log
CUTTING PICTURE & TRACK
NEGATIVES
Adding printer cues
A & B CUTTING
A & B cutting of negative
CHECKER-BOARD CUTTING
Splices
ZERO CUT & AUTO-OPTICALS
Automatic printing effects
LIMITATIONS OF A & B CUTTING
Length of effects
Length of scenes
Proximity of effects
NEGATIVE CLEANING
Cleaning methods
PROTECTIVE FACILITIES
Black-and-white
Colour
GRADING FOR THE ANSWER
PRINT (1)
Communications
Video analysers
GRADING FOR THE ANSWER
PRINT (2)
Electronic preview
Photographic tests
ANSWER PRINT STAGES
Liaison with the production team
ANSWER PRINT PRESENTATION
Viewing conditions—35 mm
Viewing conditions—16mm
TRAILERS & POST-PRODUCTION
WORK
Preparing material for trailers
Other post-production work
CHANGES OF FORMAT
Reduction and enlargement
Alterations of frame format
Printers
ENLARGEMENT PRINTING:
16MM T0 35MM
Super-16
ENLARGEMENT PRINTING:
35MMTO70MM
Anamorphic negatives
Flat negatives
16mm originals
UNSQUEEZE PRINTING
Prints for television from
anamorphic negatives
REDUCTION PRINTING:
35MMto 16MM
Printing methods
REDUCTION PRINTING TO 8MM
& SUPER-8
Multi-rank intermediates
MAGNETIC SOUND
Specification of magnetic stripes
Sound synchronization
RELEASE PRINTING FROM 35MM
NEGATIVE
Making 16mm prints
RELEASE PRINTING FROM 16MM
REVERSAL
Making 35mm prints
RELEASE PRINTING FROM 16MM
NEGATIVE
16mm prints
35 mm prints
RELEASE PRINT METHODS
Splices in release prints
POSITIVE ASSEMBLY WORK
After-treatment of prints
PROCESSING FILM FOR
TELEVISION
Black-and-white prints
Colour prints
VIEWING PRINTS FOR
TELEVISION USE
Viewing conditions
THE USE OF FILM ON TELEVISION
Documentary subjects
Full-length drama
subjects and series
Film inserts
Advertising spots and commerci.
MEDIA TRANSFER:
FILM TO VIDEOTAPE
Telecine systems
Film requirements
MEDIA TRANSFER:
VIDEOTAPE TO FILM
Transfer methods
LABORATORY CHARGES &
BUDGETING
General principles
TERMS OF BUSINESS
Rectifying faults
IN CONCLUSION      
FURTHER READING
GLOSSARY

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