Checking Dailies FarFromthe Lab recently while shooting a theatrical feature on location and the solutions I devised to achieve the two aforementioned objectives. Some of my points might be obvious to filmmakers with experience, but perhaps other readers will find them educational. In 2006, I was called to shoot Love in the Time of Cholera (2007), a wonderful story based on the book by Gabriel Garcia Marquez, which is A top director of photography details his methods for inspecting footage on locations that don’t offer easy access to labs and dailies. by Affonso Beato, ASC, ABC ost cinematographers have worked on locations far away from the laboratory and are well aware of how difficult it is to check the density of the negative and control the quality of dailies from such places. Being on such a location today makes it almost impossible to see dailies on film. The exposure on each scene and the proper density in our negative are fundamental to M 38 February 2008 getting good prints and/or achieving a broad range of manipulation in the digital-intermediate (DI) suite. Getting dailies of good quality is important not only for self-gratification, but also for maintaining the director’s confidence, assuring the producers and studio of a good final product, and fostering enthusiasm among the creative crew. My intention with this article is to present problems I encountered