If
you
didn't
have
dailies
made
at
the
time
of
photography
(for
whatever
reason)
have
the
lab
make
you
a
work
print
from
your
negative
now.
Editing
your
film
begins
with
editing
the
(positive)
work
print
dupe
of
your
negative.
Leave
the
negative
alone
for
now.
Since
the
work
print
is
for
editing
reference
only,
you
can
smoke,
eat
and
let
the
cat
hair
fly
as
you
tape
splice
this
into
the
order
you
wish
your
end
product
to
appear.
This
is
where
you
can
scratch
film,
leave
finger
prints
and
dust
-
just
don't
damage
the
perfs
so
you
can
watch
it
over
and
over
until
you
feel
it
has
been
cut
to
your
satisfaction.
This
is
where
your
script
supervisor's
log
that
noted
the
order
of
the
scenes
and
which
takes
were
included
on
each
roll
of
film
you
shot
(shot
1A-take
2,
shot
1B-take
3,
shot
1C-take
1,
etc.)
are
invaluable
for
navigating
your
reels,
searching
for
the
shots
you
wanted
to
use.
The
more
modern
means
of
editing
film
involves
the
use
of
an
off-line
editing
machine
like
an
Avid
to
generate
an
EDL
(edit
decision
list)
that
is
printed
out
on
paper
to
specify
to
the
negative
cutter
what
frames
of
the
negative
to
extract
and
cut
together.
By
either
means,
once
the
work
print
is
cut
and/or
laid
off
to
tape,
it
is
now
considered
to
be
in
a
state
of
"Picture
Lock."
That
means
no
more
picture
editing
whatsoever
can
be
considered
because
the
audio
editor
is
about
to
sync
all
of
the
audio
against
the
frame
count
of
your
finished
"picture
locked"
work
print.
