IV.

Laboratory Processing

The very large footages of film produced by cine-cameras are processed on big, continuous-processing machines, which develop the negative images on the film. These are then printed onto positive film on a printing machine. Most printing is done using continuous contact machines, where the developed negative and unexposed print films are run together, in contact, past a controllable source of light. The light passes through the negative, exposing the images directly onto the print film, which is then developed to produce the positive images. Other printing machines consist of a projector that uses a lens to project the negative image directly onto print film in the gate of a special type of camera. This type of step optical printer can be used for a wide variety of purposes such as enlarging (“blowing up”) from a 16-mm negative to a 35-mm print and for many special effects.

The light used for printing is produced by a special additive source, where the amounts of red, green, and blue light can be regulated independently to control both the exposure and the colour balance of the individual shots. By correcting small variations between shots, smooth photographic continuity is achieved. The technique of controlling the printer light settings is referred to as grading or timing the print.

Traditionally, the practice was for the first print to be sent back to the film-makers as soon as possible, usually the following day, so that they could check that the scenes had been filmed correctly. These prints are called rushes or dailies and, after viewing, were used by the editor to assemble the shots into the cutting copy or work print. They were joined or spliced in the right order and the right points at which to cut between the shots were determined. Recently, digital techniques have involved the editing decisions being made using virtual cutting copies in a computer. However, in fully budgeted films the first print is still made, as most film-makers wish to see their rushes on film to enable them to make accurate judgements about the photographic quality of the material as it will be seen on release in the cinema. If necessary, scenes may then be re-shot. If cost savings are critical, video versions of the rushes may have to be accepted as dailies, though high-quality telecine and video projection are necessary if the judgements are to be relied upon.