American Cinematographer - March 1993 - 72

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IP) serves as a new master, one generation
removed from the original. Olivier adds that
"in general, there is only one IP. It's usually

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printed, like the

answer

prints, in

a

liquid

gate printer, to minimize the risk of dirt and
white

specks. It is

never

be stored in the

a

back-up, and should
same place as the

negative."
The

interpositive master is ex¬
posed by contact printing onto another
strand

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of

5244.

The

result is

5384, is used for both dailies and release
print. Olivier states that up to 800 release
prints can be printed from the same

internegative. "In the French market,

but
big film can require 400 copies." Making
release prints in one go diminishes the risk
to the IN. "The higher the volume, the easier
it is to manage, because we don't unload
the printing machine"
The big volume of release prints
creates a challenge for quality control.
Olivier points out that "we screen the prints
as they come out of development in high¬
speed projection, but we only screen one
reel out of ten at 24 fps. We're trying to
encourage movie theaters in France to do
a test screening before they project the print
to the public. Many have been responsive;
they understand that we're all after the
same thing." Asked what that thing is,
Olivier responds with his characteristic
smile: "quality."
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an

internegative, a negative that can be used
to create the large quantities of prints re¬
quired for distribution to theaters. The
internegative is usually printed "one-light"
(one set of red, green and blue values), since
all the timing adjustments have been made
on the interpositive. Depending on the
quantity of prints required, several
internegatives (or INs) can be made from the
IP master. Many productions prefer a stur¬
dier polyester based version of the
internegative stock. Thus Eastman's 2244
is usually used instead of the acetate-based
5244. Olivier adds that "in general, we make
two internegatives."
The final step is high-speed vol¬
ume printing (960 feet per minute) and de¬
veloping (700 feet per minute) of release
prints from the internegative. In our ex¬
ample, the same stock, Eastman Kodak

some

of the

processing that goes on in the lab.
American Cinematographer - March 1993

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