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136:]" setting. This, along with other measures to cut costs in duplicating films at high speed, led to a noticeable decline in the quality of release prints during the 1970s and 1980s. In contrast, a showprint is usually printed directly from the composited camera negative, with each shot individually timed as a duplicate intermediate element would normally be, onto a higher quality of print stock than is usual for mass-production release prints (e.g., Eastman 2393 for showprints, and the standard 2383 for mass-production release prints). As a showprint is at least two generations closer to the composited camera negative than a typical release print, the definition and saturation in the projected image is significantly higher. During the era when CRI was prevalent,
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The person operating the printer on which the release print is struck must take several factors into consideration in order to achieve accurate color. These include the stock manufacturer, the color temperature of the bulbs in the printer, and the various color filters which may have been introduced
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as the printing internegatives are "punched" and "inked" for this specific purpose. Showprints, being made from the composited camera negatives, which are never "punched" or "inked", have white motor and changeover cue marks as these marks are punched (or scribed) directly on the prints by hand, in
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Release prints are generally expensive. For example, in the United States, as of 2005, it typically cost at least US$ 1,000 to manufacture a release print, and that number did not include the additional cost of shipping the bulky release print to a movie theater for public exhibition. The cost of a
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This photo shows the form in which 70mm prints are typically shipped to movie theaters worldwide. Each reel can hold up to 3,000 feet of acetate, magnetic-striped print stock. The weight of the film stock, steel reels and shipping containers make the cost of shipping significant, and is a major
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EKs (showprints) are even more expensive as they are almost completely made by hand and to much higher quality standards. Perhaps only five EKs will be made of a widely distributed feature, compared to thousands of standard prints. They are intended primarily for first-run and
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to incorporate special effects, fades, etc., from the cut camera negative. In short, a typical release print is three generations removed from the cut camera negative. A check print is a type of release print used for checking the quality of release prints before they are made.
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A 35mm release print in the form that it would typically be delivered to a theatre in the United States and Canada. Each 2,000 foot reel is held on a 4" core with clip-on plastic flanges, and held vertically in a plastic or steel container that can take between 2 and 4
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supposed to be projected, usually where the screen is too small to accommodate a wider ratio and does not have a masking system in front of the screen itself. The audience may be confused when significant action appears on the masked-off edges of the picture. Director
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release print is determined primarily by its length, the type of print stock used and the number of prints being struck in a given run. Laser subtitling release prints of foreign language films adds significantly to the cost per print. Due to the fear of piracy,
246:, placed between the film and the projector's light source. The aperture plate in combination with a prime lens of the appropriate focal distance determines which areas of the frame are magnified and projected and which are masked out, according to the
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to film, from which the release prints are struck in the normal way. This procedure eliminates at least one generation of analogue duplication and usually results in a significantly higher quality of release prints. It has the further advantage that a
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were often reviewing showprints with greatly different exposure than what the general public would see. Showprints are colloquially referred to as "EKs" (for
Eastman Kodak), since "Showprint" is a tradename of DeLuxe, although it is not a registered
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is used in printing to ensure that only the area of the frame shot in the camera that is intended to be projected is actually present on the release print. Some theaters have also used aperture plates that mask away part of the frame area that
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In the traditional photochemical post-production workflow, release prints are usually copies, made using a high-speed continuous contact printer, of an internegative (sometimes referred to as a 'dupe negative'), which in turn is a copy of an
405:-consideration theatrical runs in Los Angeles and New York City. This accounts for two of the typically five produced. Two EKs are usually reserved for the film's producer. The remaining EK is usually archived by the film's distributor.
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is a very high quality projection print made for screening at special events such as gala premieres. They were most important in the era from 1968 to 1997, after film laboratories began to switch from earlier processes like
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try to ensure that prints are returned and destroyed after the movie's theatrical run is complete. However, small numbers of release prints do end up in the hands of private collectors, usually entering this market via
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A 35 mm release print in the form that it would typically be delivered to a theatre in Europe. Each can contains roughly 2,000 feet of film, or 20 minutes of running time at 24
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can be produced as the final output in addition to or instead of film prints, meaning that a single post-production workflow can produce all the required distribution media.
160:(these were sometimes referred to as 'lavender prints' in the past, due to the slightly colored base of the otherwise black-and-white print), which in turn is a copy,
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to make release prints. The CRI process is faster, but to accommodate such speed, the resulting release prints were usually exposed at a "one lite [
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this way, via prints eventually being donated to film archives and preservation masters printed from them. The polyester film base is often recycled.
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106:("timing" in American English) conforms to specifications, so that final adjustments can be made before the main batch of release prints is made.
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85:. A workprint may be roughly corrected for brightness and color balance. The prints are used for editing before the negative itself is
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Release prints are not to be confused with other types of prints used in the photochemical post-production process:
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Conventional release prints, which are made from timed internegatives, usually contain black motor and changeover
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of the Soviet Union competed with Kodak in the print stock market throughout most of the twentieth century.
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and screened to the cast and crew in order to ensure that the takes can be used in the final film.
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Marketing to
Moviegoers: A Handbook of Strategies Used by Major Studios and Independents
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of
Germany also sells black-and-white print stock. Other manufacturers, principally
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expressed frustration at this practice, which some theaters applied to his film
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of Japan (the penultimate company to discontinue colour print stock),
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The post-production of many feature films is now carried out using a
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102:, depending on the production workflow, in order to verify that the
539:. Jefferson, North Carolina: McFarland & Company. p. 118.
505:. Jefferson, North Carolina: McFarland & Company. p. 119.
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Film
Restoration: The Culture and Science of Audiovisual Heritage
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reason why the format has been in decline since the early 1990s.
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during initial filming or subsequent generation of duplicates.
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in which the film is intended to be projected. Sometimes a
699:"Announcement on Motion Picture Film Business of Fujifilm;"
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is the only remaining manufacturer of colour release print
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625:. University of California Press – via Google Books.
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At the theater, release prints are projected through an
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Malkiewicz, Kris; Mullen, M. David (1 December 2009).
664:"6.7 What is a 'check print'? (Film Laboratories)"
98:is made either from the cut camera negative or an
27:Copy of a film that is provided to a movie theater
730:. New York and London: Focal Press. p. 234.
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271:SFIFF: Brad Bird's State of Cinema Address: SFist
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177:workflow, in which the uncut camera negative is
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791:SFIFF: Brad Bird's State of Cinema Address
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371:Learn how and when to remove this message
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89:, or cut to match the edited workprint.
14:
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621:Spottiswoode, Raymond (1 March 1951).
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775:Piracy in the Motion Picture Industry
126:to color reversal intermediate (CRI)
567:Millerson, Gerald (29 August 2013).
536:The Moviegoing Experience, 1968–2001
502:The Moviegoing Experience, 1968–2001
309:adding citations to reliable sources
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701:. 13 September 2012. Archived from
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594:Enticknap, L. (13 November 2013).
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206:in the world. Along with Kodak,
678:"OrWo Positive Print Film PF-2;"
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639:Cinematography: Third Edition
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806:Film and video terminology
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226:of the United Kingdom and
652:– via Google Books.
623:"Film and Its Techniques"
570:Lighting for TV and Film
67:original camera negative
724:Marich, Robert (2005).
277:Production and disposal
642:. Simon and Schuster.
214:of the United States,
188:Digital Cinema Package
40:that is provided to a
238:Theatrical projection
305:improve this article
194:Release print stocks
175:digital intermediate
169:Digital intermediate
760:and Mary Carroll,
705:on 27 January 2013
198:As of March 2015,
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607:978-1-137-32872-4
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48:Definitions
762:Subtitling
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683:20 January
552:3 February
518:3 February
477:References
331:newspapers
252:hard matte
141:trademark.
78:Workprints
71:processing
18:Film print
413:the lab.
410:cue marks
395:preserved
361:June 2016
262:Brad Bird
183:burnt out
111:showprint
87:conformed
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216:Fujifilm
146:Workflow
417:Gallery
403:Academy
345:scholar
179:scanned
118:(e.g.,
104:grading
63:dailies
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455:reels.
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224:Ilford
212:DuPont
122:) and
352:JSTOR
338:books
228:Tasma
204:stock
83:takes
61:, or
745:2022
732:ISBN
711:2013
685:2013
644:ISBN
602:ISBN
575:ISBN
554:2022
541:ISBN
520:2022
507:ISBN
324:news
208:ORWO
38:film
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307:by
133:sic
92:An
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