Pre-roll / Post-roll

Every reel needs buffers—at the top and bottom. The pre-roll sits before the actual film material and signals the projectionist: here we go. The post-roll ends the reel and indicates when it's over. Neither is dramaturgical, but both are absolutely technically necessary.

The pre-roll typically begins with the optical countdown—that animated sequence of numbers (10, 9, 8...) that ticks down in the cinema. This isn't just decoration. It synchronizes the projector, gives the projectionist time to check the sound, and marks the exact point where the main film starts. Before this countdown, there are usually several meters of blank film or leader—35mm standard leader in white or red, sometimes with editing marks. These leaders also serve as physical protection for the actual images during winding and unwinding. In addition, there is a synchronization mark—usually two dots or a circle in the center of the optical soundtrack—that perfectly aligns picture and sound. Some houses also use test material in the pre-roll to check color temperature and projection format.

The post-roll works in reverse. After the last frame of the film, there are again meters of leader, then a clear end marker—often a black frame or labeled leader, signaling to the projectionist: the show ends here. This is essential so that the reel doesn't run into empty space and the next work cycle begins. In digital cinema, these functions have lost importance—DCP files come with their metadata—but for 35mm distribution and archiving, pre-rolls and post-rolls are still standard.

In editing practice, this means that when finalizing a DCP or mastering for physical material, these buffers must be consciously planned. They are not a mistake, but craftsmanship. An experienced editor has the pre-roll prepared by the editing assistant and does not include it in the dramaturgical process—but rather fades it out during projection.