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16mm Splicer - Movie Editing



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Seven Minutes

I’d bought an 8mm splicer for two dollars — the 8mm splicer was fine because 8mm and 16mm essentially have the pins in the same place — and a roll of perforated splicing tape, and I was off to the races. Once I had the prints, all I used was the splicer and a piece of lumber with two screws in it. I’d put each little reel from the lab on one side, and on the other side I had a big reel where I wound up all the film. So I wanted The Flicker to start off with the warning, followed by the long, slow credits, and then by the opening moment of the film proper, a completely blank screen, so that, finally, about seven minutes into the film just a little something... That is, I wanted to exhibit the power of the medium by showing that even if you wished to, you couldn’t stay in that space, that it was under the control of the film — well, under my control — and that you had been drawn into and driven by the... I constructed the film very carefully so that you’re inexorably moved, very deliberately and very systematically, into an experience completely out of the ordinary, where perception is dramatically altered. My little splicer was in the middle. I wanted them to be compliant, so that the little thing that was going to happen would be a surprise, something that they would understand as going on — not just passing by, as Arnulf Rainer does. I knew from my experience with long-duration music that once you start the performance, the audience waits to see what’s going to happen, and after a couple of minutes, people are thinking, “What is this shit. I’ve always thought of The Flicker as a kind of bizarre science fiction movie, as a space that you can enter — in the way that you enter the narrative space of a regular Hollywood movie — and go floating off into some weird dimension, and then... they acquiesce to the situation …. MacDonald : Or they leave — fine, if they’re going to leave, I want them out of there. In any case, I felt that if the warning were to be for real, then I had to leave time for someone to say, “Oh, well, let’s see, actually that’s me being warned. : … I had decided to produce one one-hundred foot roll of film that would include the forty-seven arrangements of [all] black and [all] white frames that I had in mind. Remember, in terms of extended-duration art experiences, I probably had had as much experience as anybody in the world at that time — other than the other musicians I was working with. So I really didn’t have any way to actually find out anything ahead of time, though I did have a pretty good idea of what would happen. I’d better leave,” and then to explain to his girlfriend or whoever why he was leaving, and still have time to actually get out of the theater. It took a very long time to make these five hundred splices, because in my enthusiasm and inexperience I was almost obsessively careful. I wanted each of the forty-seven variations to be repeated ten times. In other words, only one thing would be happening, and the audience would notice it, in part because almost nothing had been going on before. We were doing long-duration music where you had the problem of “nothing happening,” a complete novelty at that time. I didn’t want people to be in a “Hey, let’s get it on. ” kind of mood. He told me, “If you put a notice up there, people are going to be having ‘seizures’ who aren’t  epileptics. I cut each of the ten rolls apart into forty-seven pieces and then spliced them together into the right order.

Source: Unreal Nature

Jan 28, 2013 by Aimee | Posted in Camcorders

How can I rent a rent a motion picture film camera?

From a company, like Arriflex, Panivision etc. is it the directors job to get the equipment like that? I plan on shooting a short in super 16mm.


Hi Aimee: I understand from some of your previous Q&A's here on Yahoo!Answers that you are a young Canadian writer who aspires to direct films, and who enjoys directors like Stanley Kubrick & Ridley Scott ("Barry Lyndon" & "Blade Runner", respectively). Now, you are focused on renting a 16mm film camera & spending a $20,000 budget on a scripted short film. But in the last couple of months, you've been asking such basic questions such as "How do you edit a film made in film?" and "How does sound work?" This is why people go to film school. But you "Do not plan on goin' to film school." I'm afraid you'd end up spending $20K, having no useable film to show, and getting your own expensive version of "school-of-hard-knocks" film school. As for your actual Question, traditionally the D.P. (director of photography), not the film's Director, decides the camera & which lenses to use for shooting. The Producer, not the film's Director, makes the rental arrangements and pays the bills. On a small independent production, the Producer & Director (and even D.P.) can be the same person. But you are an aspiring director with no experience on-set or behind a camera. If you have an actual "finished script", you should first try to get it "workshopped" at a local drama group or university drama department. This is the best way to see how all your scenes play out with real actors (and not spend a dime on film & lab costs). This will also introduce you to talented actors you can afford later on. The Sundance Institute (Robert Redford's non-profit organization which also produces the Sundance Film Festival) has various Labs/workshops & Fellowships to allow new writers & other creative people to collaborate without going broke. Canada has

Dennis C | Jan 28, 2013
Dennis C | Jan 28, 2013
Hi Aimee: I understand from some of your previous Q&A's here on Yahoo!Answers that you are a young Canadian writer who aspires to direct films, and who enjoys directors like Stanley Kubrick & Ridley Scott ("Barry Lyndon" & "Blade Runner", respectively). Now, you are focused on renting a 16mm film camera & spending a $20,000 budget on a scripted short film. But in the last couple of months, you've been asking such basic questions such as "How do you edit a film made in film?" and "How does sound work?" This is why people go to film school. But you "Do not plan on goin' to film school." I'm afraid you'd end up spending $20K, having no useable film to show, and getting your own expensive version of "school-of-hard-knocks" film school. As for your actual Question, traditionally the D.P. (director of photography), not the film's Director, decides the camera & which lenses to use for shooting. The Producer, not the film's Director, makes the rental arrangements and pays the bills. On a small independent production, the Producer & Director (and even D.P.) can be the same person. But you are an aspiring director with no experience on-set or behind a camera. If you have an actual "finished script", you should first try to get it "workshopped" at a local drama group or university drama department. This is the best way to see how all your scenes play out with real actors (and not spend a dime on film & lab costs). This will also introduce you to talented actors you can afford later on. The Sundance Institute (Robert Redford's non-profit organization which also produces the Sundance Film Festival) has various Labs/workshops & Fellowships to allow new writers & other creative people to collaborate without going broke. Canada has
lare | Jan 29, 2013
it is not the Director's job to secure equipment for a movie, all financial obligations are the chore of the Producer, who will also get the profits from its showing and own the copyright. The cost of Hollywood type movies is so expensive that you often see list of several dozen "Producers" in the credits because those are people that invested money it the production. if you mean to say you are both director and producer, then i guess you are stuck with doing the honors. the first order of business would be to get insurance for your venture or production company. you cannot rent professional equipment without naming the rental company as an "also insured" on your business liability policy. that is your guarantee that the stuff gets returned and is undamaged when you have finished shooting in addition to paying the rental fees. remember you need to rent the lens(es) as well as the camera. Panavision rents gear because that is how they control use of their exclusive lenses. You would need to rent Arriflex gear from regular theatrical supply companies. You might want to look into advertising agencies that produce television ads, they might give you a decent deal and perhaps even provide a cinematographer to operate it.
Aug 18, 2012 by katarzyna | Posted in Other - Electronics

what are the features of this camera?

http://www.flickr.com/photos/siimvahur/3 663261164/


It's an 8mm cine camera made by Eumig in Austria. ...pronounced Oymig Eumig was very popular and sold millions of them of various models and also projectors to show the films. The Servomatic was made from 1958 until 1964. It's a double-eight camera, meaning it takes 16mm film and the film is exposed along one half and then turned over and exposed along the other half so you get 50 feet on a 25 spool of foot film. It's cut along the middle during processing and the two halves are joined together in a film splicer and come back as a 50 foot length which lasts for around 4 minutes on the screen at 16 frames per second. Films are edited the same way. The film goes into a small splicer which holds the film solid and allows you to cut it accurately where required. Cut pieces to be joined together are put into the two halves of the splicer, the emulsion is scraped off and film cement is applied. The join is then clamped tightly to join the two halves. A twenty minute home movie might have forty or more pieces joined together. http://www.youtube.com/watch?v=r7JGm5USQ KU The camera is powered by a 4.5 volt battery. The multi-faceted window on the front is a selenium light meter. Some pics of one are here, with the camera open to show where the film goes. The film is on a spool and is threaded around the film track and into the take-up spool. When it's exposed it can be sent away for processing and it comes back a few days later ready to show on the screen but it will normally need editing to make a good movie. http://mikesvintagecameras.weebly.com/eu mig-servomatic-cinecamera.html Here are some more Eumig cine cameras. http://www.fuchsberg.at/eumig/pandreas/m embers.nusurf.at/pandreas/eumig-museum/k ameras.htm In the USA Bell and Howell was the big name for home cine cameras. I have two of them, an Eumig and two Bolex high quality ones. Old 8mm and 16mm

| Aug 18, 2012
jonal | Aug 18, 2012
It's an 8mm cine camera made by Eumig in Austria. ...pronounced Oymig Eumig was very popular and sold millions of them of various models and also projectors to show the films. The Servomatic was made from 1958 until 1964. It's a double-eight camera, meaning it takes 16mm film and the film is exposed along one half and then turned over and exposed along the other half so you get 50 feet on a 25 spool of foot film. It's cut along the middle during processing and the two halves are joined together in a film splicer and come back as a 50 foot length which lasts for around 4 minutes on the screen at 16 frames per second. Films are edited the same way. The film goes into a small splicer which holds the film solid and allows you to cut it accurately where required. Cut pieces to be joined together are put into the two halves of the splicer, the emulsion is scraped off and film cement is applied. The join is then clamped tightly to join the two halves. A twenty minute home movie might have forty or more pieces joined together. http://www.youtube.com/watch?v=r7JGm5USQ KU The camera is powered by a 4.5 volt battery. The multi-faceted window on the front is a selenium light meter. Some pics of one are here, with the camera open to show where the film goes. The film is on a spool and is threaded around the film track and into the take-up spool. When it's exposed it can be sent away for processing and it comes back a few days later ready to show on the screen but it will normally need editing to make a good movie. http://mikesvintagecameras.weebly.com/eu mig-servomatic-cinecamera.html Here are some more Eumig cine cameras. http://www.fuchsberg.at/eumig/pandreas/m embers.nusurf.at/pandreas/eumig-museum/k ameras.htm In the USA Bell and Howell was the big name for home cine cameras. I have two of them, an Eumig and two Bolex high quality ones. Old 8mm and 16mm

16mm Splicer - Bookshelf


160 pages

16 mm film cutting

Creator: John Burder | Performing Arts - 1975

On some types of cement splicer heat is applied to the area being joined. This tends to produce a stronger join and also reduces the time that film needs to be left in the joiner. The minimum overlap used for 16mm film is 1/1 6in. This minimal  ...

Publisher: Taylor & Francis US

About this book
The film editor can make or break a film. What ends up on the cutting room floor, and why? 16mm Film Cutting is a step-by-step guide to film cutting which shows you how to achieve professional results.The practical side of the editor's job is clearly described and illustrated; breaking down rushes and making a simple join, identifying shots, first assembly, avoiding errors, preparing special effects, instructing the labs, compiling sound tracks and all the other stages in producing the final film. 16mm Film Cutting is an indispensable aid to editors and assistants working in all areas of 16mm film production.Complex techniques are presented logically for ease of understandingIdeal reference for all those working in the area of 16mm film productionGain a comprehensive overview of the processes and skills in 16m film cutting



480 pages

Film Production Technique: Creating the Accomplished Image, Creating the Accomplished Image

Creator: Bruce Mamer | Business & Economics - 2009

With the Rivas splicer, doing angled sound cuts requires using a second splicer equipped with the angled blade. The frame line runs between the sprocket holes on both 16mm and 35mm film, so the cut is right at a set of sprocket holes.

Publisher: Cengage Learning

About this book
FILM PRODUCTION TECHNIQUE: CREATING THE ACCOMPLISHED IMAGE, Fifth Edition, combines extensive information on video production with a strong emphasis on how motion picture film can be integrated into a project's workflow. An invaluable resource for those w


Motion picture, TV and theatre directory for services and products

Performing Arts -

GUILLOTIIIE SPLICERS FOR USE WITH lI0lI-PEIIFOIIATED TAPE Regular 8mm Splicer ........................... .. $192.30 Super 8mm Splicer ........................... .. $192.30 16mm Splicer - Straight Cut- Model $227.50 16mm Splicer - Straight Cut-........ M3 .


Movie Editing Equipment Directory

How To Splice 8mm, Super 8, 16mm vintage Home Movie Film ...
How to make splices for 8mm, Super 8, and 16mm home movie film. I call these "poorboy Presstapes". They work very well when properly applied. I have used ...

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User-Guide to Movie Film Splicing There are several ways to splice movie film. Film cement can be used to join motion picture and special tapes, either from a roll or ...

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Where to buy low price 16mm film stock, 16 mm movie cameras, edit splicers, film projectors, tape, reels, movie scopes, vintage cinema, light meters, books,

super 8mm splicer | eBay
Find great deals on eBay for super 8mm splicer 8mm splicer. Shop with confidence.

MOVIE FILM SUPPLIES & EQUIPMENT - Phil's Vintage Movie ...
projector belts, parts, projector lenses. 8mm, super-8, 16mm & 35mm movie reels and cans. 8mm, super-8, 16mm & 35mm movie film leader. splicers, splicing tape ...


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  • Kodak

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    It Sticks!

    0 5/5 Anthony J. Agostinelli "Tony Agostinelli" (Portsmouth, Rhode Island, USA) - See all my reviews, March 14, 2013

    Great value, great item

    0 5/5 Ron Crawley (Gramling, SC USA) - See all my reviews Verified Purchase(What's this?) This review is from: KODAK 16MM PRESSTAPE splice tape (formerly) Presstape splices are certainly the way to go, considering the old glue method of more of a work of art! Very simply to use, but it helps to have a proper Kodak Presstape splicer. Great item, good quantity, and a great value. 0 Help other customers find the most helpful reviews  Was this review helpful to you? , April 18, 2014

    hard to find

    0 5/5 cyclone - See all my reviews Verified Purchase(What's this?) This review is from: KODAK 16MM PRESSTAPE splice tape (formerly) Amazon came through for me and I am now able to combine many of my older family films before sending them out to be saved with digital transfers. 0 Help other customers find the most helpful reviews  Was this review helpful to you? , March 23, 2014
    Pre-perforated for easy application
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  • Topscreen2012(TM)

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    Packing List: 1×fusion splicer machine 1×precisious optical fiber cleaver 1×carrying case1×power adapter 1×Fiber fixture(900um) 1×Fiber fixture(Skin line fixture) 1×Fiber Fixture(patch cord fixture) 1×optical fiber connector fixture(SC) 1×Skin line fiber peeling clamp 1×fiber stipper 1×cooling tray 1×alcohol box 1×quick hot melt clip 1×spare electrodes 1×Optical fiber extraction clip 1×tweezers 1×cotton swab 1×PC management software (optical disk) 1×user's manua 1×warranty card and product qualification certificate
    5.1 inch TFT color LCD monitor with clear digital image display; USB & VGA interface; Software upgrade via USB interface
    Single X or Y view and X & Y view simultaneously; Auto detect cleaved endface fault; Display fiber cleaved and offset angle; Display core and clad offset
    Specification: Model RY-F600/RY-F600P Applicable fibers SM (ITU-T G.652), MM (ITU-T G.651), DS (ITU-T G.653), NZDS (ITU-T G.655) Fiber cleaved length 10 ~16mm (Coating diameter<250µm);16mm(Coating diameter250~1000µm) Fiber diameter Cladding diameter:80 ~150µm , Coating diameter:100 ~1000µm Auto focusing Available Fiber aligning method Core aligning, clad aligning, manual aligning Average splice loss 0.02dB (SM), 0.01dB (MM), 0.04dB (DS), 0.04dB( NZDS) Splicing time Typical 9 sec,with standard SM fiber Heating time Typical 36 sec Applicable sleeves 60mm, 40mm and a series of micro sleeves Tension test 2N(option) Electrode life 5000 Battery capacity Typical 400 cycles (splice and heat) Monitor 5.1 inch TFT color monitor Terminal USB and VGA , software upgrade via USB interface Operating condition 0 ~ 5000m above sea level, 0 ~ 95%RH and -10~50oCC, respectively, Max. wind velocity of 15m/s Splicing mode Auto ,normal Fiber cleaved angle threshold set 0.1 ~ 10.0 oC , 0.1oCstep Power supply Li-battery 11.8V , AC100-240V DC12.6V/5.0A Dimension L169*W152*H155mm weight 2.4kg 2.9kg(battery)
    Innovative design of multiple fixture drive systems, to fit the different optical fiber, bare fiber and hot melt quick coupling; Digital fusion splicer with automatic focus function; Fiber core can be display clearly


Movie Editing Equipment