Producing a ﬁnal digital print includes
- Color correction
- Audio sweetening, as described previously
- Copy duplication for release prints on DVD or other media
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Two good resources for current technology information are: • Kodak’s student program, for everything to do with ﬁlm and ﬁlming. Lists student contests and a wealth of other information. • DV Magazine, for up-to-date information and reviews on everything for digital production and postproduction.
Marking the point where the clapperboard bar just closed (for that of the picture) and the sound track marked with the clapper bar’s impact are aligned in a synchronizer or table editor so that discrete takes can be cumulatively assembled for a sync viewing. The same principle applies when the outputs from double system are synced up in a computer. Every respectable ﬁlmmaking manual covers this process (see this text’s bibliography).
KEEPING A DAILIES BOOK:
When readying dailies for viewing, make a record of the running order. You can, of course, use the NLE database, though the space for on-screen display may be cramped. If you use a notebook, make a preparatory log divided by sequences and showing slate and take numbers. Leave space for cryptic notes during the dailies viewing
CREW VIEWING SESSION:
Although the crew has seen the dailies piecemeal, let them view their work in its entirety. Everyone can learn from this, especially because mistakes tend to be suppressed (you hope) in the ﬁnal edit. Screening may have to be broken up into more than one session because four hours or so of unedited footage is about the longest even the most dedicated can maintain concentration. The editor can be present, but discussion is likely to be a crew-centered postmortem rather than one useful to editing.
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If you write during a viewing, try never to let your attention leave the screen, because you will assuredly miss important moments and nuances. This means making large, scribbled notes on many pages of paper. If you have a voice recorder or an assistant, dictate notes without looking away from the screen.
After the crew or others have seen dailies, there is usually a debate over the effectiveness, meaning, or importance of different aspects of the material. Participants may have differing feelings about the credibility and motivation of the characters. Listen rather than debate, for these represent the possible reactions of a future audience. Keep in mind, however, that crew members are far from objective.
They are disproportionately critical of their own discipline and may overestimate its positive or negative effect. They also develop their own subjective relationships with the actors and the ﬁlming situations.
THE EDITOR AND DIRECTOR VIEW DAILIES
During shooting and after it, editor and director see the dailies seated next to each other. A marathon viewing in particular will highlight the relativity of the material and expose the problems you face in the piece as a whole.
You might discover that certain mannerisms arise repeatedly in one actor and must be cut around during editing if he is not to appear phony.
Or you might discover that one of your two principals is more interesting to watch and threatens to unbalance the ﬁlm. If, during the dailies viewing, you ﬁnd yourself reacting to a particular character with, “She seems unusually sincere here,” write it down.
In fact, note any unexpected mood or feeling. Gut feelings often seem unfounded, so you are tempted to ignore or forget them. However, they are seldom unrepresentative; what triggered them is embedded in the material for any ﬁrst-time audience to experience. The notes you make will be useful as reminders later when inspiration ﬂags and memory glazes over from overexposure to the material.
Next, view the material a scene at a time. With considerable labor, ﬁlm dailies can be reassembled for projection in scene order. Dailies that have is digitize can easily be call up in scene order.
Run one sequence at a time, then stop to discuss its problems and possibilities. The editor will need the dailies book to record the director’s choices and note any special cutting information.