The international photographer (Jan-Dec 1936)

Sixteen The INTERNATIONAL PHOTOGRAPHER WHAT IT TAKES TO MAKE A GOOD SPLICE February, 1936 I >R ET'S consider that indispensible adjunct, that conconnecting link, of cinematography — the good old reliable Film Splice. For, all too soon, "there'll come a day" as Joe Penner puts it, when splicing film becomes a necessity whether you are an advanced amateur or mere beginner in movie making. Film splices are used more often for repairing damaged film or for purposes of editing, it happens, than in any other phase of cinematography. And since this is the case, it behooves everyone handling film to be adept at making a good, clean and neat splice. Unfortunately, it must be admitted, in the field of amateur cinematography there is a deal of variance in splice making. All sorts of splices, good — bad — and indifferent, are encountered. In the majority of cases, however, the poor splice is most often the result of the maker's lack of experience; and very often, his inability to use properly the splicing equipment at hand. At this juncture it may be aptly remarked that splicing film is not at all difficult, but it is an operation that requires skill. Only by sufficient practice, as in everything else which must be mastered, may the movie-maker acquire the necessary technique. That old saying, "Practice Makes Perfect," is probably truer of splicing skill than in most any other movie-making endeavor. Stated simply, splicing is that part of cinematography whereby two films are joined together by cutting and cleaning the overlap of one to match the frame of the other, applying film cement, then pressing both ends together. Splicing is not, as many persons suppose, the result of any "gluing" together of two film ends. Actually, it is a chemical action in which the film cement acts as a solvent of the slow-burning acetate of cellulose Safety Film base. More correctly, therefore, the two film ends are welded together — the cement chemically softening the two surfaces which, when pressure is applied to them and the cement has thoroughly dried — forms a homogeneous and continuous strip of film. The removal of emulsion image from the overlapping portion of one film end is required, it must be remembered, because film cement has no action on film emulsion. To effect the welding process of a splice, the cement must be applied direct to the clear base of the film. Of lesser importance for removing the emulsion, it may also be pointed out, the overlap should be perfectly transparent to accommodate the other film end visual image which is spliced over it. This in order not to obstruct the clear passage of light from the projector, and to preserve the full frame visual image where the splice occurs. Even if it were possible to splice film without removing a bit of the emulsion on one end, there would still be an overlap in the visual image which, while only causing a momentary dark flash on the screen, nevertheless would prove unpleasant and annoying. A film splice may be either of two kinds; the straight or the diagonal. There is much to be said AMATEUR MOTTO HAMTLTC for both types and at the same time, as is so often the case in making comparisons, each also has its drawbacks. The straight splice is universally used in professional films and therefore it was natural enough that the same idea was carried over into the substandard film field. Straight splices necessarily include emulsion removal from around the film perforations (two perforations in 16 mm.; one in 8 mm.) and this calls for greater care in scraping than on the diagonal splices. However, the straight splice does not extend very far into the frame. In fact, the smaller aperture of the projector cuts down somewhat the area covered by the camera and at the same time serves to reduce the width of the straight splice to a minimum. On the other hand, the diagonal splice advocates uphold the claim that being longer, the diagonal is stronger; also, that the splice runs through the projector gate more smoothly than the straight; and lastly, there is no danger of destroying film perforations in removing emulsion, preparatory to splicing, as the splice does not fall at the point of these perforation holes. Nevertheless, in actual projection the diagonal because of its greater length, which hits the screen diagonally, is very likely to leave the impression of a momentary flicker. The choice in type of splices therefore resolves upon the individual amateur. Personally, we have used both types of splices, for a good many years, each with equal success. It is our experience that proper care in making a splice is of far greater importance than the type used. It seems fitting at this point to take up the fundamentals of good splice-making and to enumerate and consider them: First — A good splicer. By this is meant a splicing machine that is practically automatic and one that minimizes actual handling of film by the splice maker. Amateur films being the narrow gauge they Film Ti m Itiavel Film Travel Lamp Projector Gate Splice Overlaps Incchhcct Lap Ficf.t. B Cohkect Lap are, it is manifestly impossible to do a neat splicing job with makeshift apparatus. Cheap splicers will only afford indifferent results, besides unduly tiring one out in attempting to patch film. In this connection, we recall a personal experience which happened several years ago. The projectionist of a (Turn to Page 18) Please mention The International Photographer when corresponding with advertisers.