American Cinematographer - February 1989 - 82

entirely with PAL standard equipment di¬
rectly from the film negative, the quality of
the PAL recording is equal to recordings
actually created in the foreign markets. It is,
however, a more complex and costly pro¬
cess than simply transferring a completed
film print to a PAL videotape. Also, there are
only a handful of facilities in the country
equipped with the full array of PAL transfer,
effects, and recording systems required to
complete a prime-time television program.
The principal advantages of this
cut negative transfer process are the cost
savings derived from electronic rather than
film titles and opticals, and the opportunity
for the producer to participate more directly
in the color correction and other finishing
details. Although there is some debate on
the subject, there is also an advantage in
transferring directly from the negative as
more control over low light detail is possible
than when transferring form a print. Further,
because the negative is cut, generally in the
same manner as for film printing, this meth¬
od provides a film negative master (although
without titles or optical effects) for the
making of projection prints or HDTV versions
in the future if required.
Such prime time programs as
L.A. Law, Dynasty, and Hooperman are
transferred from cut negative to videotape
for delivery.

Right: The Montage
picture processor,
a

nonlinear elec¬

tronic film

editing

system. Below:
An online

editing

suite, where

as¬

sembly of the final
edited program
takes place.

All-Electronic Post-Production

The invention of specialized elec¬
tronic editing systems designed to allow an
editor to work in the same manner as film

editing has made it practical to transfer the
exposed camera negative directly to video¬
tape and not use film for post-production at
all. Obviously, this choice represents the
most drastic departure from traditional film
post-production practices. Although the
steps required parallel those used in film,
there are differences in equipment and
some new terms. Essentially the process
works

as

follows:

The exposed and developed neg¬
played on a telecine machine,
usually a Rank-Cintel, converted to a posi¬
tive image, and the circled takes are trans¬
ferred to a broadcast quality videotape.

ative is

During this
ally takes about 14 to 16 hours.
After the mastering has been
completed for the domestic (NTSC) delivery,
transfer to the PAL format for foreign
markets is usually done by repeating the

a

from the point of the cut negative,
the difference here is that the special PAL
equipment, recorders, switchers and effects
process

80

American

Cinematographer

process

the corresponding

sound track is

systems, even monitors, must be used at
each step. However, the process goes faster
than the initial NTSC transfer because most
of the color correction and some of the
effects decisions which have been comput¬
er stored during the NTSC steps can be used

synchronized and simul¬
taneously recorded with the action onto the
videotape. Specialized color control systems

again for the PAL version.

is

Because the PAL version is made

February 1989

associated with the telecine machines allow
for

adjustment of the

appearance

picture during transfer. In most
to

of the

cases

there

adjustment made for each shot, similar
best-light or timed dailies from a film lab.

an
American Cinematographer - February 1989

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