Previous books on film laboratories have described the lab as the technical centre of the film production industry. In the modern world of Betacam shooting, telecine transfers, non-linear editing and cassette dubs, this is no longer true, and the lab is but one of several technical service providers. As the number of alternative pathways a film production can follow has increased, so the film maker needs a clearer understanding of the technical requirements of each function, in order to make well-informed decisions for each stage of the process. Film Technology in Post Production will fulfill that need. The book concentrates on the most frequently asked questions, and on those areas which cause the most trouble when misunderstood. Starting from a simple outline of the photographic process, it goes on to identify the alternative pathways for film production and post production, and describes the function of the lab in each step of each process.Particular emphasis is given to the often confusing requirements for production in Super 16 and the blow-up to 35mm, the intricacies of negative cutting to match a non-linear edit, and to the process of grading and regrading for the answer print.Dominic Case is a motion picture technical consultant, who is a world-respected expert on the subject of film technology services. He lectures extensively and was previously the author of Motion Picture Film Processing (also in the Media Manuals series) This title will replace both that book, and