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Photographs by Vernon Castleton
FIG. 1: L. to r. in author's A and B editing setup are the A roll, B roll, original picture and leader supply. Film viewer as synchronizer is in center.
FIG. 2: Leader and film are threaded jointly on sprockets of viewer which moves them forward in synchrony.
A and B ROLL EDITING
By this method of movie magic, less complex in execution than
it seems, fades and dissolves can be printed into your film at will
GLEN H. TURNER, AACL
THERE comes a time in the life of every amateur filmer when, despite his best laid plans for smooth continuity, things go awry. Perhaps it's a lap dissolve or a fade that is needed. If this be the case and the film is in the can with no chance for retakes, there is not much he can do about it. If, however, he intends having a duplicate made, it's quite another story.
Sometimes transition problems occur in the planning stages of a film. The script of a recent film of mine called for a number of dissolves from indoors to outdoors. No problem there, you'll say; simply take it all on Type A film and use a daylight conversion filter when making the dissolves to the exteriors. But w° were scheduled to shoot
FIG. 3: Identical frames of both films are punched out to act as sync marks before they are threaded from viewer to A and B reels.
the interiors at a rustic cafe where they had a large stone fireplace and the like. The exteriors were scheduled to be shot about a month later while on vacation in the wilds of the country — a mere 250 miles away.
It looked offhand as if we would have to be content with fades, for dissolves seemed out of the question. Luckily, my plans included the making of a projection print, so I decided to let the laboratory print in the dissolves. (This service, as cited last month in Look to Your Laboratory, can be had at slight extra cost at most labs.) But in order for the lab to create printer-made dissolves, it was necessary to edit the original film into A and B rolls. This editing technique, possibly not too well known to most filmers, will bear outlining.
For A and B roll editing, besides the tools usually found in any amateur's kit, you will need the following: four rewind spindles, or one extra set; a synchronizer, and a sizable supply of white leader.
The last named you can obtain from your regular photo dealer — even if only in 100 foot lengths. The first named — the two extra rewind spindles — you probably can borrow from a movie-making friend. Or you may contrive to make do as I did (see Fig. 1) by pressing into service a spindle from your projector and (in my case) a spare 8mm. editor. The synchronizer, however, is rather an expensive item for the amount of use it would get from the average amateur. So here again I made do by using my 16mm. motion viewer.
In any case, the working setup is seen in Fig. 1. At your right, mount on individual rewind spindles the reel of blank leader and the reel of picture footage. At the left, mount on rewind spindles two empty takeup reels which will house the edited A and B roll footage. In between these two pairs position your motion editor and splicer.
Now from the feed reels at the right draw out suitable