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by John Burder
16mm Film Cutting
Cover
Half Title
Title Page
Copyright Page
Table of Contents
Film Running Times
Introduction
The Job of Cutting
Importance of cutting
What do you cut?
Cutting with Safety and Economy
Matching original to cutting copy
A chance to save money
Cutting Films Shot with Sound
Cutting programme-synchronised sound
Completing the soundtrack
Cutting Films Shot without Sound
Motorised Editing Machines
Machines for sound and picture
Cutting sound and picture
Upright and Table Editing Machines
Upright machines: Moviola
Table machines: Steenbeck
Multi-Track Equipment
Synchronisers: Types and Uses
Gang synchronisers
Synchronisers: Accessories
Sound attachments for synchronisers
Picture synchronisers
Synchroniser accessories and attachments
Joining Film: Temporary Splices
Temporary joins: tape splices
Joining Films: Permanent Splices
Welded splices
Animated Viewers
Function of the viewer in cutting
Sundry Cutting Room Equipment
Wall cuts racks
Rewind arms
Film horse
Cutting Room Accessories
Split spools and film cores
Planning Picture Sequences
Definitions
Camera viewpoint
Identifying and Printing Takes
Printing selected takes
False economies
Identifying Sound Takes
Using information provided
The Film in the Camera
Processing originals
Reversal and negative films
Copying the Original
Grading
Cinex strips
Cutting Copies
Cutting copies of 16 mm colour films
Copies on panchromatic stock
Black and white 16 mm films
Edge Numbers and Film Footage
Final stage of cutting
Edge numbers
Film footage
Locating Scenes and Takes
Logging rushes
Minimising paperwork
Breaking Down Rushes
Separating scenes and takes
Identifying the takes
Joining With Tape
Making the join
When not to use tape
Joining with Cement
Strong splice
Film Leader
Academy leaders
Making A First Assembly
Backing tape joins
Continuity Cutting
Choice of cutting point
Practical advantages of tape joins
Cutting A Simple Sequence
Matching action cuts
Avoiding Continuity Errors
Cutaways
Jump cuts
Optical Effects: Dissolves
Optical overlaps
Single Roll Optical Effects
Identifying an optical
Quality of duplicate master materials
Ordering Single Roll Optical Dupes
Length of dupes
Optical Effects: Fades and Freezes
Freeze frames
Extending and Fine Cutting the Action
Stretch printing
Recutting the first assembly
Changing and Patching Cutting Copies
Repairing cutting copy damage
Augmenting Original Film
Ordering stock footage
Negative Cutting: Principle
Cutting by numbers
Negative Cutting: Checkerboard
Starting a checkerboard assembly
Negative Cutting: Where and When
Matching edge numbers step by step
Joining picture and leader
Checking numbers before making a cut
Negative Cutting: Optical Effects
Overlapping checkerboard dissolves
Marking centre points
Negative Cutting: A/B Rolls, Cueing
Optical cue sheets
Negative Cutting: Completing
Checking neg cut rolls
Additional C and D rolls
Superimposed Titles
Reversal originals
Negative originals
Ordering Superimposed Titles
Coloured lettering for titles
Synchronised Sound: Double System
Double system shooting
Synchronised Sound: Single System
Magnetic stripe sound advance
Cutting with Wild Sound
Cutting with separate tracks
Wild tracks used with synch sound
Planning A Complete Soundtrack
Breaking down sound
Preparing Sound Effects Tracks
Matching sound and picture
Preparing Background Sounds
Joining spacing and magnetic
Sync Points
Marking sync
"Laying" spot effects
Matching Sound and Picture
Adjusting out of sync sounds
Cutting to music
Cutting Sound and Avoiding Clicks
Demagnetising joins and joiners
Background Sound Loops
Preparing a sound loop
Synchronised Sound and Picture
Synchronising rushes
Finding and Maintaining Synchronism
Intercutting sync and mute takes
Narration: Pre Recording, Matching
Pre-recording commentary
Narration: Recording During A Dub
Dubbing procedure
Dubbing: Procedure
Dubbing cue sheets
Dubbing: Practice
M & E premix
Combined Prints: Magnetic or Optical
Magnetic stripe and optical sound compared
Sound advance
Combined Prints: Optical Sound
Comopt copies: advancing sound for printing
Preparing the First Show Copy
Grading answer prints
Automatic grading
Prints Out of Sync
Sound out of sync
Tracing the source of faults
Picture Faults
Prints from out of synch A & B rolls
Other print faults
Faults Difficult to Remedy
Edge fogging
Complaining to a laboratory
Safeguarding Original: Dupe Masters
Making multiple copies
Colour reversal internegative
Advantages and disadvantages of dupe masters
The Original: Neg and Pos Dupes
Dupes from Ektachrome originals
Dupes from black and white originals
Moving from Gauge to Gauge
35 mm reduced to 16 mm
16 mm enlarged to 35 mm
16 mm reduced to super 8 mm
Conclusion
Recording Film on Video
Videos from 16 mm negatives
Electronic Film Conforming
Further Reading
Glossary
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16mm film cutting
16mm film cutting
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