Pratt's Negative Cutting can guide you through the pitfalls
of post-production. From the second your negative leaves the
set to the fading of the house lights at your world premiere,
we can help.
are experienced in every facet of post-production, and act
as advisors on virtually every project we do. We also have
close ties with four different sound houses for any of your
sound needs. Even if you are a post-production supervisor,
we can help- because we know what it looks like from your
perspective. Titles? Opticals? Digital Effects? We've worked
with the best in the business, and can interface with anyone
you choose - or make some recommendations ourselves. We can
help you stay on time and on budget- and we have the scars
to prove it.
can help you establish an editorial department by arranging
for the space you need, everything to equip it (check out
our equipment list), and if you need them- the editors and
assistant editors to run it. We can recommend highly qualified
personnel for all aspects of your editorial needs, and help
arrange for their hire.
We can sync your 35mm, S16/16mm dailies and prepare them to
your most demanding specification. We work in association
with Alpha Cine Laboratory and coordinate both the workprint
and sound transfers based on your editorial department's requirements.
From a single camera shoot, to something like Kevin Costner's
The Postman, with as many as 9 cameras shooting simultaneously--we
have met the requirements and the deadlines. Needless to say,
we also offer edge coding.
Conforming Workprint to a Digital Edit
you want to conform workprint to the digital cut so you can
see it projected, we're here for you. We pull the select negative,
have a workprint made, and conform it to the edited digital
version. All of our tape splices are invisible, and we handle
the workprint just like we handle negative, so you have the
finest quality print for projection.
have the resources and the contacts to steer you through the
post-production maze. Do you just need a question answered?
Ask us. We are here to help. We've forgotten more than most
people know, and still don't walk into walls.
Editorial Rooms and Equipment
is a sample of our equipment: 16mm and 35mm KEMS with flicker
free heads. ( We also have Super 35 capability). Tables, editing
chairs, sync blocks, sound heads, squawk boxes, back racks,
standing racks, power rewinds, manual rewinds, coding machines,
tape splicers (straight and diagonal), spacers, spring clamps,
trim bins, tight winds, core adapters, reel horses, film punches,
tape dispensers, table racks, flanges, 2 and 3 inch cores
for 16mm and 35mm. we even have upright Moviolas in 16mm and