Living Through Answer Printing

SUBMITTING A&B ROLLS WITH AUDIO ELEMENTS FOR ANSWER PRINTS

We charge $40/hour for A&B set up, which includes close inspection of all splices, setting up of dissolves and fades, and ascertaining all effects requiring orange base leader are the correct length. This is done to eliminate minor errors in A&B preparation which could cause an expensive answer print to be no good. A 20 minute film takes between 1 to 2 hours for set up.

It is Colorlab's policy to ultrasonically clean A&B rolls prior to set up, thereby removing any glue residue left by the matching process, which would easily be ground into the emulsion if not dealt with, and cause white dirt marks on your print. A further ultrasonic cleaning step is performed before timing and then 3 more times before the first print is made. This cleaning regimen together with the policy of all answer printing being performed liquid gate, ensures the cleanest possible answer prints. All these cleaning and liquid gate costs are included in the per foot costs of our answer prints.

It is imperative that A&B rolls be conformed in a professional manner. Most importantly, the splices must be strong and durable enough to withstand the handling that is required to produce a quality answer print. We suggest that you use a professional negative cutter to conform your negative. However, if you choose to conform your own negative, we recommend you use a reliable splicer and professional film cement, changing contents of the bottle daily. Colorlab charges $40.00/hr. to repair defective splices. We will provide you with names of reputable negative cutters upon request.

COMMUNICATION WITH TIMING DEPARTMENT

To make the first answer print consistent with the filmmaker's vision, it is very important that Head Timer Chris Hughes and his staff have a definite idea what colors the filmmaker lived with during editorial and what direction he/she wants to go in the first answer print. The timer will screen either the cut work print or BCSP Avid output of the work picture with the filmmaker in person, ideally, or during a phone conference. The relevant picture elements must be available to us in the Rockville location where the printing is done. Although there is no charge for this consultation, it is the single most important communication step during the answer printing phase of film post. By adhering to this policy, we can get the first print very close to the filmmaker's expectation.

When submitting the first answer print to us for corrections, it is important to make your cue sheet using feet/frame readings, noting those corrections from the head punch before and closest to the academy...also known as the start punch. This hole punch in your print is the sync point the printer used when keeping this piece of print stock in sync with the A&B rolls in the print room. Zero your flatbed counter at this punch when compiling corrections. The other hole punch, closest to the very head of thread up leader, is to be ignored.

OPTICAL SOUND TRACK PREPARATION

Colorlab makes its own high-quality 16mm sound tracks from various mix elements. However, Colorlab does not do any audio mixing. If you feel the need to have your audio mix place be responsible for creating the optical sound track, then the following applies. In addition, Colorlab does not make 35mm sound tracks and will always rely on the client supplying those from another vendor.

In order to produce the best possible audio for a composite sound print, the facility that produces your optical track needs to work in conjunction with Colorlab. We have cross-mod tests run on a regular basis with labs that make negative optical tracks for many of our clients. A cross-mod test locks in the printing and processing of the lab producing the optical track with Colorlab's printing and processing of the print. After deciding where you are having your optical track made, you should inform the lab that Colorlab will be printing and processing your composite print.

Colorlab uses the industry standard for synching optical tracks to picture. This involves using a beep tone placed in your audio that corresponds to the 2 in the academy leader of your picture. When viewing the academy leader portion of the print over the light box, because of audio advance, the 16mm print will have the beep opposite the 2nd ‘4' from tail and in 35mm, opposite the 5th ‘3' from head. If your sync drifts within the show and these sync references appear as described, you have editorial problems.

TURNAROUND TIME

Normal turnaround time for printing and processing a sound answer print from A&B rolls for a short film (30 minutes or less) is five working days from receiving all necessary elements. Feature film turnaround varies with length and number of cuts. Please remember that if you are considering a telecine transfer, you should allow the extra time for this in your schedule, as well.

XENON OR TUNGSTEN BALANCED PRINTS

The lab will ask you if you want a 3200K (tungsten) or 5400K (Xenon) balanced answer print. We're trying to make sure you don't take a 3200K print to a large theater with a xenon light source projector, which means your film is now completely blue. If you tell us your film is to be shown only on a large screen with a long throw, more than likely what is in the booth is a xenon projector, a very blue light source. We will make your print overly red/yellow to compensate. If you'll be screening on a Kodak Pageant tungsten projector, we'll make your print balanced for 3200K. Over a light box, the 3200K print looks normal and the 5400K looks too red/yellow.

TELECINE ISSUES

Usually, 16mm and 35mm normal contrast projection prints look too contrasty in telecine. This contrast sometimes overpowers the subtleties you've captured on film and can be pretty much an aesthetic downer. When budgets permit, a 16mm 7244 interpositive can be printed from the A&B's for an additional $.83/ft. For a 20 minute show, this would be $614.20. The interpositive is a great telecine transfer medium, yielding perfect contrast rendering with true color reproduction. Close to it but costing only an additional $.07 over the cost of an A&B release (total cost $.57/ft. or $421.80) is the Kodak Color Teleprint Film, which is a new ultra-low contrast print film product. For 16mm users, if your post path is toward a blow up or Blow-down, you'll need the 7244 interpositive anyway so you'll be getting double usage from it.

One problem with the Color Teleprint Film is that a print made on it cannot be used for projection...not enough contrast.

STORAGE HASSLES

If you would like to vault your elements at Colorlab once your answer printing has been completed, we will apply a monthly fee of $.75 per box to begin 30 days after you have received your prints and all work has been completed. A one-time log in fee of $3.00/box will be applied.

AND LASTLY...

When picking up answer prints from the Maryland location, call ahead and schedule time with the timer with whom you've been working to screen your answer print. It's important and free!

When picking up answer prints from our NYC location, make use of our free screening room. Both locations have xenon and tungsten projectors for your use. Also free.