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A word about the negative cut!

So many people are working in HD or DV today, so this may not apply to you. But please be wary of what can happen to your negative, especially if you happen to be working in 16mm. It's a minefield out there, and there are a lot of technical impediments to commercial success. The 16mm negative is very highly susceptible to dirt, dust, scratches, or bad splicing technique due to it's small size. Be absolutely certain that you have a highly experienced, highly qualified negative cutter. Technical problems can detrimentally affect your prospects for distribution. This goes for 35 as well as 16. 

Despite the universal popularity of DV and HD-CAM, 16mm is still a commercially viable medium — witness the Mary Kate and Ashley series of films, shot in a wide variety of international locations in 16mm, and top ten sellers every one, each shipping in excess of one million units to the home video market.

On a less critical note, most of the negative cuts I see coming back for a final mix do require adjustments in sync, whatever the reason. Most of the time, this is a normal part of working procedure when you edit on a non-linear system. Cutting naked, unadorned film on a flatbed gives you a modest advantage in this respect, because no resyncing is required.