Using Films

Many program packages are still shot entirely on film for TV transmission; but film is being used less and less in the actual television production process.

Directing techniques

Film is invariably shot with a single camera, one setup at a time. Because results can only be confirmed after processing, filming relies on careful measurements (exposure and color temperature) and subsequent grading by film labs. Multi-takes and repeated action provide greater editing flexibility. (Only around 1/10 to 1/20 of the material shot is actually used – a 10:1-20:1 shooting ratio.) The optical viewfinder of some film cameras includes a tiny video camera, which allows shots to be checked on a nearby picture monitor. But the director is always very dependent on the cameraman for the final film quality.

All editing decisions and selections are made after shooting is over, in collaboration with the film editor. General speaking, filmed sequences have briefer shots (and hence a faster pace), with more frequent change of viewpoint or location, than video productions.

Televising filim

Film is converted into the television image either by special telecine scanning equipment, or a film chain (film island) housing a film projector shot by a video camera.

A ‘standard’ leader is usually attached to the beginning (‘head’) of a film insert, containing numbered frames counting down at one-second intervals. This allows its start to be cued accurately. (While some equipment has ‘instant start’, most takes several seconds to get up to speed and stabilize sound.)

When there are several inserts (film clips) on a roll of film, they will usually have individual leaders, but if you are cutting frequently to and from a series of inserts, it may be preferable to insert black leader (blanking) of suitable durations between them, and leave the equipment running. Film rewind time may have to be allowed for during rehearsal, particularly if the film sound is recorded on a separate magnetic track (sep. mag.).

Library shots

Film libraries have extensive collections of library or stock shots, which can be integrated into a production. These cover virtually all subjects: location shots, news events, personalities, special effects, industrial processes, etc. Apart from the fact that it would often be quite impracticable to shoot or restage new material, these library shots provide very convenient, economic picture sources.

There are disadvantages to using library material. Certain often-used shots can become too familiar to the audience. Picture quality is very variable (sometimes black and white), and may not match unobtrusively with video shots.

Where library prints are mute (no sound) or their sound is unsuitable, you can add your own sound effects/music.

The basics of film making

• Pictures are shot by a single film camera, in separate setyps. Action is repeated/varied to improve the ‘take’, or assist editing continuity. (Maximum shooting time typically 10 min.)

• Identifying clapper board is held in front of camera at start of each take; or shown inverted at the end.

• While shooting the picture, sound is usually recorded on separate ¼-in magnetic tape audio recorder. Electronic interlock ensures accurate synchronism between film camera and audio recorder. (Some systems now yse time code methods of ident. and syncing.)

• Details of all takes logged for future reference.

Processing

• ‘Takes’ are processed, to produce a mester negative (all tones/hues re¥ersed). An uncorrected positive print of negatives is made from this – in B & W for economy. These ‘rushes’ (dailies’) are used to check/review the shots (action, framing, focys, etc.).

Editing

These rough prints are then used for the editing process: spliced together in potential order, matching sequences so that action appears continuous. The resulting work print or rough cut is checked/revised, and each join marked to show transition required. This cutting copy or fine cut is sent to film laboratories (‘labs’).

Audio

Dub transfer. The original ¼-in audio tape is transferred selectively onto fully coated sprocketed magnetic film, to correspond with the ‘cutting copy’.

This track (usyally dialogue) is then exactly synchronized to the picture.

• Varioys additional sound tracks for sound effects, music, commentary etc. are individually prepared and assembled.

• The specialist dubbing mixer plays all tracks, introducing and blending them at appropriate moments in the film fat the same time adjusting audio quality/reverberation where necessary). Result is a single mixed soundtrack (mono or stereo) that exactly matches the edited film.

• Where necessary, the original film sound is replaced or treated. Unsatisfactory dialogue may be sybstityted (dubbing, post-syncing, looping).

Processing

• Grading, timing, cinex strips. The labs provide short test strip prints of each scene, showing