Appendix 1

Zero Cuts
Appendix 8: Conforming Negative
Another way of making invisible splices when printing from A and B rolls is to extend each shot at
least two frames past the point where you want the “cut.” When these A and B rolls are placed in a
synchronizer, the splices will have a four-frame overlap at the head and tail of each shot. These rolls
must be printed on a printer that can make “cuts” by means of a fast shutter. Not all labs have zero
cut capabilities, so check with your lab. This guarantees an invisible splice. Even if glue extends into
the frame or if the splice causes a “bump” going through the printer, this is never seen as the fi rst
and last two frames in the shot are never printed. Also, if a frame is lost due to a torn sprocket or
bad splice, there are two extra frames before losing a frame of the shot. There is, however, an extra
charge at the lab.
When using zero cuts, it is necessary to set up the export fi lm list in Final Cut Pro to a three-and-ahalf
frame “cut handle” for 35 mm or seven frames in 16 mm, to account for the two frame overlap
and the lost frames. This way, any shot that extends into the overlap will be properly reported as a
double use.
Before Cutting Negative
There are a few things to keep in mind before cutting negative:
Set up a dust-free work area and keep the work area clean.
Handle the negative only when wearing clean cotton gloves.
Check the alignment on your splicer. Make several test splices. Test the splices by fl exing and
twisting the splice. Look for the corners to lift.
Use only fresh fi lm cement. Replace it daily. Keep the can lid on tight.
Do not make any grease pencil marks on the original.
Use standard leaders and never put more than one head sync or any other type of sync mark on
any roll.
All 16 mm fi lm including the optical sound must be the same wind as the picture negative, usually
B wind. This is only an issue in 16 mm.
When you are fi nished, wind the rolls tightly, preferably on a tight-wind, not a split reel.
Include cue sheets for fades, dissolves, and so on, as well as a continuity sheet with color correction,
day for night, and such.
Pulling Negative or Work Print
In an effort to avoid problems, many fi lmmakers conform a work print to the Final Cut Pro cut list
before cutting the negative. Others jump right in and conform negative to the cut list. Work print
costs more money and takes longer. However, if you are not 100 percent comfortable with cutting
your negative, conform work print fi rst.
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