ARRI/SCHWARZFILM - FAQ

Negative developing

Sound

Telecine

Commercials

1. What do 4:2:2 and 4:4:4 stand for?

4:2:2
4:2:2 describes the relationship between the scanning rates in analoque/digital conversion at a luminance scanning rate of 13,5 MHz and the two colour difference signals of 6,75 MHz each to a digital component signal. The 4:2:2 syystem is used as standard in the SDI signal. The increased resolution in the colour difference signals means that a 4:2:2 signal is completely capable of processing, in contrast to a 4:1:1 or 4:2:0 signal.

4:4:4
describes the relationship between scanning rates in converting a RGB signal from analogue to digital at a 13,5 MHz scanning rate. This signal may be transmitted from a Telecine device to a grading system.

The number of brightness levels used in converting from analogue to digital video signals. 8-bit quantisation corresponds to 256 brightness levels, 10-bit to 1,024 brightness levels. Some digital video tape formats and digital transmission systems use 8-bit quantisation.

• Absolutely clean negative due to digital retouching
• No completely accurate negative cut needed due to direct transfer from the lab rolls to a hard-disc recorder
• Complete creative post-processing opportunities for film coloration by digital grading
• All video formats required, such as TV broadcast tapes in HD or SD, or DVD applications may be generated by downconverting high-resolution digitalized film material
• Seamless effect and title integration

• Postproduction takes longer
• Higher costs

HD has a resolution of 1,920 x 1,080 = 16:9 (1:1,78), 8-bit linear. HD is actually a TV format, limiting its suitability for digital intermediate processing.
A 35 mm film image at the same aspect ratio digitalised in 2K corresponds to a resolution of 2,048 x 1,150 10-bit logarithmic and, like 4K 4,096 x 2,301 10-bit logarithmic, is suitable for cinematic digital intermediate processing.

Once the digital intermediates are complete, you will have a new negative recorded on 35 mm. The original camera negative also remains unaltered. The data can be saved on external hard discs or on a RAID system. Apart from that, you also have the option of creating an HDCam from the HD-TV mastering process

Workflow Digital Intermediate (PDF)

1. What kind of material can be developed?

We develop negatives and positives, color and b&w, in 16 mm and 35 mm. We cannot process CRI or Super 8mm films.

Special processing covers processing on films that requires alteration in standard processing technology and/or machine operation. Examples would be processing involving pushing or pulling, bleach bypass or cross-processing. To fulfil these requirements, the lab will either have to alter the processing machine or the operating parameters; therefore, specialised processing tasks involve increased costs and can only be carried out before or after hours. This explains the increased price for specialised processing.

A silver image forms in all photographic layers of the film during the first phase of processing. Shortly afterwards, the dyes form in the developer bath. The silver image is no longer needed, and has to be removed from the colour film. This is a chemical process that takes place in the stop bath. If the stop bath is omitted in the bath sequence, the silver image remains in the film. The result is an image that is no longer coloured, has a higher degree of reticulation and higher contrast. The stop bath may be omitted with the colour negative or positive. However, it is important to realise that the stop bath, which contains oxidants, also plays a conservation role, and negatives that have not been in the stop bath will not keep as well as those after ordinary processing. That means bleach bypass negatives cannot be used for long-term archivation. Therefore, the stop bath is usually omitted - if the look of the film requires it - in the print, which means in the positive image.

Yes, certainly. The effect is less pronounced in the positive image, as there is less silver, and the percentage increase in contrast will also be lower.

Cross-processing is where the film material is processed using processing technology other than that recommended by the film manufacturer - for example, when a reversal film is developed as a negative. This is possible since the processing machine can take up any film in its format range. However, this represents a specialised processing job for the lab, as the foreign material cannot be processed along with "normal" processing jobs. The customer needs to have thorough knowledge of the altered photographic characteristics created by cross-processing.

Sensitometry is the measuring technique used in photography. Specialised equipment is used to measure photographic parameters from film material with information on light sensitivity (ASA), contrast and minimum film thickness. In practice, mainly films that have exceeded the recommended storage time are checked for their current quality. In these cases, their characteristic curves can be used to decide whether or not they are still usable. Our lab professionals will be ready to help you.

1. What materials are needed for the negative cut, and in what form?

All negative material has to be separated in rolls. Roll length first frame/last frame:
For 25 frames/sec. max. 20 min. 30 sec.
For 24 frames/sec. max. 21 min. 15 sec.
Please deliver a VHS playout for negative cutting in Berlin, otherwise BetaSP or DVCam with burnt-in timecode/keykode as well as an edl (edit decision list) CMX3600 or ready made cut&pull lists. Don't forget to indicate the format - please see the PDF data sheet for more detailed information.

Fade-ins and fade-outs (16/24/32/48/64/96-frames). All other fades have to be optically created (using an optical printer like Oxberry) via intermediate, or digitally created.

Information on negative cutting in Berlin(PDF)

Information on negative cutting in Bern(PDF)

1. What kind of sound material needs to be supplied for producing an optical soundtrack negative?

To create an optical soundtrack negative we need the mix including Dolby licence either on DAT cassette for Mono or Dolby-SR sound or on MOD for Dolby SR-D sound.

• Is your sound track mono or Dolby stereo SR?
• Film speed (24 or 25 frames/sec.)? Please also see section 7
• How can the sound technicians in the lab contact production if questions should arise (phone, e-mail)?

• Reference sound: mono 1 kHz -14 dB = 100%, 0 dB
• Dolby Stereo SR, Encode (SVA)
• Dolby Level 1 kHz — 20dBfs on DAT = -6dB analogue, 50% modulation
• Dolby Noise SR white noise
• Overlap at each end of a roll

If you wish to use Dolby stereo sound, you will need a licence for each project from Dolby Laboratories, Inc. The fees vary. Contact your local Dolby representative (www.dolby.com)

The lab can apply a Dolby encoding on non-coded stereo recordings onto a DAT cassette during transfer. This technology represents a technical last resort that allows the film to be played in cinemas with Dolby decoders, but does not correspond to a genuine Dolby encoding. While transferring to the optical soundtrack negative, we have no control on which sound tracks are played on which speakers in the cinema theatre, and limitations on quality have to be expected. We cannot assume responsibility for the quality of the optical soundtrack if the Dolby licence is missing.

DTS (Digital Theater System) is a company that has introduced a digital stereo sound technology worldwide. DTS digital sound involves recording the sound information on a CD to be supplied and played separately from the film print. Image and sound are kept in sync by a timecode on the film. During the optical soundtrack transfer process in the lab, the timecode track and the analogue SR track are recorded onto the soundtrack negative. You will need a licence from DTS www.dts.com) for each project that uses DTS digital sound.

Since the transfer from sound media to optical soundtrack negative is a 1-to-1 transfer, the running speed of the devices is irrelevant. A far more important issue is how the programme has been recorded. A 24 fps recording will also run at 24 fps on the optical soundtrack negative. However, there is a possibility to convert Dolby SR sound mixes on DAT cassettes from 25 to 24 fps by slowing them down by 4.167 %. This makes it absolutely necessary to mark the running speed clearly on each order.

We use Pro-Tools LE 7.4. software for sound data processes. Accordingly we are able to work with all audio formats which are compatible to Pro-Tools.
Mostly they are .wav data. The appropriate speed of the feature is important. As the LLK3 sound camera has a fixed speed of 24 fps, programms with the film speed of 24 fps are transfered directly.
Those with 25 fps must be pitch shifted. Such a pitch shifting is the business of the sound mixing studio.
Before sending data please consult our technicians.

1. If I deliver a Super 16mm negative to be blown up to 35mm later, when does the light grading take place

Grading is done on 16mm format film. The print parameters control the printing process in the blow-up printer. Any further corrections are then made later on the 35mm format film.

Blow-up involves expanding the image from 16 to 35mm. The optical soundtrack negative has to be created for the 35mm format film

The cache required at 1:1,66 or 1:1,85 is exposed during the blow-up process.

= Transfer film to video

1. What is the difference between video rushes (or dailies) and pre-master quality?

Video rushes are used in production during the shooting to check the material ("dailies"). This usually requires high-quality, high-contrast images.
A film-to-video transfer in pre-master quality is advisable in situations such as where no negative cut is needed and the project is to be processed completely as video. The transfer mainly involves the technical values - black/white signal, colour saturation and so on. The resulting image often lacks contrast, creating a faded impression. However, this does ensure that the subsequent master grading will make the best use of the material as realised in the presence of the customer. Naturally, we can provide a parallel DVCam or Beta SP for offline-editing; if necessary, this can be ratio-converted with the contrast and colour intensified.

KK/TC is necessary for a reliable negative cut. Keykode refers to the foot number on the film material used. Timecode refers to the telecine timecode used in offline cutting.

Beta SP, S/VHS, Digi Beta, DV-Cam, MiniDV, DVD-R, MPEG-IMX, Quicktime-Movie.

Rushes resp. dailies are film and video samples on S16mm/35mm film positives or video tapes on the following formats: DVCam, Beta SP, DigiBeta. Parallel viewing copies on DVD-R, VHS or Mini-DV may also be created; however, these cannot be used for offline editing.

Daily assembling is done after negative developing and before telecine transfer. According to the picture negative reports supplied from the set, the prints will be separated from the out-takes. This saves costs, as the video transfer time is cut considerably. Whether or not assembling will take place must be decided before shooting.

Define prints/out-takes on the negative reports. For film rushes the lab must be given information as to whether the rushes shall be graded or not (grey scale and a frame leader is essential), or whether onelight rushes are requested (=transfer 1:1).

1. What data can be supplied for film recording?

Sequences frame by frame: dpx, tif, bmp, sgi, tga, jpg, rgb, cin

Cassettes: DigiBeta, DV-Cam

Contact us for further information or format options (such as QuickTime; see also section 5)

You can supply the material on DVD, HDD (Mac and PC with Fire Wire-Connection) or CD.

Film recording refers to the process of recording video or digital data onto film.

Recording technology is currently still very time-consuming. For technical realisation alone, the formula that applies is:
"One hour processing for one minute film". A 90-minute movie will take the machine 90 hours to record on film. Add to that the large amount of time needed for organisation and logistics.

This is a summary:

The machine: DEFINITY manufactured by Digital Film Systems Ltd. This film recorder is based on LCD technology.

Data formats: dpx, tif, bmp, sgi, tga, jpg, rgb, cin

From data storage media: DVD, HDD (MAC + PC), CD

From cassette: DigiBeta, DV-Cam

Data naming: example: ELTA00001.dpx working name + five-digit number (frame number) + dot + forma extension

Image formats produced:

• 1:1.18 (Cinemascope)
• 1:1.37
• 1:1.66
• 1:1.85
• 1:1.78

1. Which formats are usually used for cinema commercials in Switzerland?

Cinema commercials are created in 1:1.85 format.

A master refers to digital information on cassette with the finished commercial on it.
For a print, a 35 mm film negative is first created from the original video tape by film recording, and a 35 mm print is then made for projection.

Making a duplicate negative is advisable for 400 commercials or more. A second backup negative can be created during the film recording process (video-to-film transfer). Alternatively, a duplicate negative or duplicate positive can be made afterwards.
A duplicate negative is somewhat more expensive, but the quality is better.

The maximum Leq(m) value is 82 dBLeq(m) for cinema commercials and 85 dBLeq(m) for trailers.

Table image formats

16mm/35mm (PDF)
Film-Scanning 2k (PDF)
Film-Scanning 4k (PDF)
TV Formate (PDF)
Digitale Bandformate (PDF)
Filmformate (PDF)
Übertragung in TV 4:3, 16:9 (PDF)
Bildschirmformate (PDF)
Film in TV 16:9 (PDF)