Electronic Film Conforming

If a film has been shot on negative, the original negative can be recorded on videotape as soon as it has been processed. As it is projected the master can be reverse phased so a positive image is recorded on the videotape. It can also be colour corrected. If the film has been shot on 16mm colour reversal, the master can be recorded on tape in a similar manner without reversing the polarity. A 16mm cutting copy can then be printed or a videocassette with a burned-in time code (a time code which can be seen in the picture area) can be produced from the video transfer. The programme can then be edited by a Video Editor using off-line video equipment or by using the 16mm cutting copy. If it is cut on video there is no need to print a cutting copy. If it is cut on film the cutting copy can be edited in the normal way using the synch sound from the video transfer as one track and adding additional tracks of music and sound effects where they are required. The tracks can then all be mixed together to make a final-mix master recording. Instead of negative cutting the master picture material, your cutting copy can be electronically matched to the master videotape by a computer using a process known as Electronic Film Conforming. The 16mm master soundtrack can be recorded alongside the conformed video picture, replacing the original video soundtrack. This process, which is relatively new, can also be used to match the time code if the programme is edited on tape. In my book The Technique of Editing 16mm Films (fifth edition) I have explored this new development in more detail.

If the programme is cut on tape, provided suitable equipment is available in the cutting room and dubbing theatre, it is perfectly possible to edit a video picture with 16mm soundtracks. Synchronisers and editing machines can be electronically synchronised to videocassette players, and many dubbing theatres can lock their equipment to a video picture using similar technology. By combining video and 16mm film techniques it is often possible to get the best of both worlds and produce an optimum quality production at the most advantageous price.

Electronic film conforming
A master videotape (A) can be recorded via telecine on to 16mm positive (or negative) (N) and the video sound can be re-recorded on 16mm mag (M). The video transfer can then be cut with additional soundtracks (K, L), which can be mixed together in a dubbing theatre (E) to make a 16mm final-mix master soundtrack (J). Edge numbers on the cutting copy (H) can then be used to programme a computer to match the master videotape (F). The master final-mix sound can be re-recorded alongside the picture on the video edit master (G).

Alternatively the master video (A) can be recorded on a videocassette with a time code (B) and edited in a video edit suite (C). Additional soundtracks can be prepared on either multi-track tape or 16 mm film (D) and mixed in a dubbing theatre (E). The time code on the cassette can then be used to programme the computer to match the video original and the final-mix soundtrack can be dubbed alongside to end up with an edited video master (G).