film stocks and telecine

[kb1017]

Can someone explain to me the process that negative stocks go through. I have only shot on reversals, and would like to step it up to negative stocks. I am wondering about the price difference between the two after developing aand transferring. I am a little unclear as to the phases that the film goes through. Shoot>develop>telecine? or work print? Can they reverse the image in telelcine stage, does it mess up the colors? What exactly is a work print, and any other stages I am surely missing? Thanks.

[John Pytlak RIP]

Can someone explain to me the process that negative stocks go through.  I have only shot on reversals, and would like to step it up to negative stocks.  I am wondering about the price difference between the two after developing aand transferring.  I am a little unclear as to the phases that the film goes through.  Shoot>develop>telecine? or work print?  Can they reverse the image in telelcine stage, does it mess up the colors?  What exactly is a work print, and any other stages I am surely missing?  Thanks.

<{POST_SNAPBACK}>

 

Almost all film you see on television today is originated on color negative film. The lower density range is more easily accomodated by telecines, and the films have much more latitude. For Super-16 and Super-8, transfers are usually made from the original negative. For 35mm, the original negative can be used (e.g., for television shows), but for feature films, a color-corrected master positive is usually the element that is transferred.

 

Reversal camera films had their "heyday" in the days of television newsgathering film. Although you need to be much more precise in exposure, they did have the advantage of being more forgiving of poor film handling practices during cutting and splicing, as any dirt or scratches showed as black on the screen.