<![CDATA[<body bgcolor="#FFFFFF">
<p><img src="../media/filmstrip.gif" width="302" height="71" usemap="#filmstrip" border="0" ><map name="filmstrip">
<area shape="rect" coords="260,12,299,58" href="../archives.html" >
<area shape="rect" coords="213,12,260,59" href="../filmsvcs2.html" >
<area shape="rect" coords="172,12,213,59" href="../avid.html" >
<area shape="rect" coords="132,13,171,58" href="../nyc3.html" >
<area shape="rect" coords="88,14,128,58" href="../news.html" >
<area shape="rect" coords="44,11,84,58" href="../telecine.html" >
<area shape="rect" coords="4,12,42,61" href="../filmskool.html" >
</map> </p>
<p><b><font color="#330000" face="Arial, Helvetica, sans-serif" size="4">Living
Through Answer Printing</font><br>
</b><br>
</p>
<p><b>SUBMITTING A&B ROLLS WITH AUDIO ELEMENTS FOR ANSWER PRINTS</b><br>
<br>
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.<br>
<br>
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 a 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.<br>
<br>
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<br>
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.<br>
<br>
<b>COMMUNICATION WITH TIMING DEPARTMENT</b><br>
<br>
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.<br>
<br>
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.<br>
<br>
<b><img src="../media/pic2.jpg" width="202" height="144" align="right">OPTICAL
SOUND TRACK PREPARATION</b><br>
<br>
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.<br>
<br>
Colorlab uses the industry standard for syncing 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.<br>
<br>
TURNAROUND TIME<br>
<br>
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.<br>
<br>
<img src="../media/pic1.jpg" align="left">XENON OR TUNGSTEN BALANCED PRINTS<br>
<br>
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 theatre 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.<br>
<br>
TELECINE ISSUES<br>
<br>
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.<br>
<br>
One problem with the Color Teleprint Film is that a print made on it cannot
be used for projection...not enough contrast.<br>
<br>
STORAGE HASSLES<br>
<br>
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.<br>
<br>
AND LASTLY...<br>
<br>
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!<br>
<br>
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.<br>
<br>
<b>LIVING THROUGH ANSWER PRINTING<br>
</b><br>
SUBMITTING A&B ROLLS WITH AUDIO ELEMENTS FOR ANSWER PRINTS<br>
<br>
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.<br>
<br>
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 a 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.<br>
<br>
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<br>
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.<br>
<br>
COMMUNICATION WITH TIMING DEPARTMENT<br>
<br>
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.<br>
<br>
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.<br>
<br>
OPTICAL SOUND TRACK PREPARATION<br>
<br>
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.<br>
<br>
Colorlab uses the industry standard for syncing 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.<br>
<br>
TURNAROUND TIME<br>
<br>
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.<br>
<br>
XENON OR TUNGSTEN BALANCED PRINTS<br>
<br>
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 theatre 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.<br>
<br>
TELECINE ISSUES<br>
<br>
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.<br>
<br>
One problem with the Color Teleprint Film is that a print made on it cannot
be used for projection...not enough contrast.<br>
<br>
STORAGE HASSLES<br>
<br>
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.<br>
<br>
AND LASTLY...<br>
<br>
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!<br>
<br>
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.<br>
<br>
<a href="../telecine.html">Back to Table Of Contents</a> </p>
</body>]]>