The international photographer (Jan-Dec 1936)

Eighteen The INTERNATIONAL PHOTOGRAPHER February, 1936 WHAT IT TAKES TO MAKE A GOOD SPLICE (Continued from Page 16) first-run theatre, which was exhibiting some continuous narrow gauge films in the theatre lobby, had occasion to splice the 16 mm. film. We found him in a state of great agitation — his cement refused to hold and he could not get the 16 mm. film ends to register properly. Experienced as was our friend in making patches, even without the aid of a splicer on large 35 mm. professional film, he was grateful indeed when we came to his assistance with our 16 mm. splicing machine. Remember, then, a really good splicer will properly hold film without undue handling by the maker; will cut the film ends accurately; will apply correct pressure on the splice to insure elimination of any air bubbles; and will provide a neat splice which does not disclose an overlap of the frame or, worse yet, will not show a white transparent line on the screen at the splicing point. Second — Adequate removal of emulsion from the overlap which is to receive the film cement. Removing emulsion may be accomplished by the wet or by the dry method. The first named is the quickest, if not absolutely necessary, and is especially recommended for old, brittle film. For film emulsion, when slightly moistened, is removed very easily by the film scraper. However, moist emulsion is quite tender and open to damage until it is dry again. And further, in spite of precautions, some moisture remains which, when the cement is applied, destroys the efficiency of the splice, as water and film cement do not mix. The dry method for most films is preferable although it does require greater care in the making. Emulsion scraping should be done carefully to avoid ruining perforation holes. Again, no trace of the emulsion must be left and the film base must not be scratched into, as this would only weaken the splice. Sometimes it is advisable to roughen the film base surface slightly with a typewriter eraser to insure a good splice. Third — Film cement that is in proper condition. Cement is a very active solvent and prolonged exposure to air quickly thickens the solution, which will not effect a good weld. In some cases cement may be too thin which also adversely affects splicing. Nevertheless, a poor splice is more often caused by using "stale" cement. To avoid prolonged exposure of film cement to air, a special bottle, as shown in Figure 1, has been found very useful. This is a small-mouthed perfume bottle, fitted with a cork into which has been fastened a quill and brush. The bottle, positioned in a hole drilled in the splicing board, is of convenient dimensions for handling and it is possible to secure just the right amount of cement on the brush. Only a small portion of cement is transferred from the supply bottle, thus insuring a fresh mixture each time a splicing job is undertaken; and the perfume bottle prevents undue evaporation of the solution, because of its very small mouth. Fourth — Cementing the splice. When the point of applying cement to the film is reached, both good judgment in the amount of solution and swiftness of application are essential. Too much film cement applied to the base will considerably weaken it; when dry the splice will become brittle and is quite likely to buckle in the projector. Only apply enough to cover the entire cementing surface with a thin (Turn to Page 20) FILM CLIPS (Continued from Page 17) slow motion scenes until the action of the shot is under way, or wasted film will be the result. If possible, rehearse the scene for timing, by counting it off in seconds. For example, if the scene normally takes 20 seconds and your rate of 16 mm. exposures is 72 frames per second, you will be shooting 1440 frames or 36 feet of film! This shot would last 60 seconds on the screen! This is abnormally long, will prove uninteresting in most cases, so only photograph the significant portion of action. Always bear in mind, a slow motion shot "eats up" film rapidly; and becomes boring on the screen if overdone. Title Test Trailer: Laboratories prefer to make tests before proceeding to develop a roll of title film. When making your titles, it is advisable therefore to allow for a test by including extra footage on the last title; two or three feet will do. Before the lab man transfers your film from reel to developing rack, he can first tear off this trailer strip for test purposes. Foresight on your part will prevent your last title being missing after processing; and equally as important, the final title will not be finger-marked, rack scratched or punctured by the developing rack pins. Spooling Positive Film: Since positive film ordinarily comes coiled on a core for laboratory use, it is necessary to exercise certain care when you desire to spool the film onto a daylight loading reel for camera use. Your film rewinder and a fivewatt red bulb, the latter easily procurable at any tencent store, are all you need. The room where you do this work must be totally dark, except for the red bulb which will not fog the positive. When the film has been threaded on the camera reel, already in place on the film rewinder, hold the core carefully as you begin to turn the rewinder. Avoid having your fingers in contact with the positive. Another word of caution: do not rewind too fast. Positive, as it uncoils from its core, is subject to static electricity. Quite often you can hear the crackling and see the static, therefore wind the film very slowly — you don't want it fogged before you have a chance to use it in your camera. Film Splicer: Do you number yourself among those movie makers who, having bought a camera and a projector, believe their outfit is complete? This is not unlike starting an automobile trip with no spare tire, as you'll soon find urgent need for a good, automatic splicer in your movie making activity. A splicer is one accessory that is indispensable in cine work. Its cost is small indeed compared to the yeoman service it will render. And while you're at it. buy a good splicer; one which minimizes handling film by your fingers and one which makes a neat splice. Winter Filming: When taking your camera from the warmth of your home for outdoor service on extremely cold winter days, moisture is likely to condense on the front lens element. Always check the lens for this condition before taking your first pictures. 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