[Frameworks] editing 16mm

[nicky.hamlyn at talktalk.net]

Negative cutting is not so difficult. Lenny Lipton's book Independent Filmmaking has instructions on how to do it. The important thing is to perfect the cement join, then when you think you have, send some sample joins to the lab to see if they pass muster. After that you need a reasonably clean work space. It doesn't have to be pristine because the neg will  be ultrasonically cleaned and probably wet-gate printed, which will gets rid of any sparkle, dust and small scratches.

The one-frame-of-black-between-shots-technique can also be done with neg if one doesn't want to bother with A&B chequerboarding, but instead a single frame of clear neg is inserted between shots.

Nicky.

 

 

 

-----Original Message-----
From: Roger Wilson <rogerdwilson at sympatico.ca>
To: Experimental Film Discussion List <frameworks at jonasmekasfilms.com>
Sent: Fri, 22 Nov 2013 17:24
Subject: Re: [Frameworks] editing 16mm


Yes Kevin if you are making a traditional narrative story and you want perfect none scratched images then you should not use the method you are describing but if you are more creative and want to make an experimental film where you are more part of the creative process then I strongly suggest you give it a shot. It sounds like this is what you would like to try. Using this process is not to save you money but it is to give you creative control throughout the process. If you want perfect images go to a lab if you want to be an artist who explores the process then do it yourself. 



Roger D. Wilson
613 324 - 7504
rogerdwilson at sympatico.ca
http://www.rogerdwilson.ca



Without failure you can never achieve success. I have based my process and my career as an experimental film artist on this statement; and I welcome it as it pushes me forward as an artist to try something different, something new. 



> From: djtet53 at gmail.com
> Date: Fri, 22 Nov 2013 09:07:33 -0800
> To: frameworks at jonasmekasfilms.com
> Subject: Re: [Frameworks] editing 16mm
> 
> The single black frame "invisible splice' technique is for cutting reversal. It's extremely hard to edit negative without mucking it up, which is one reason the normal routine is to cut a workprint and leave the conforming to a pro.
> 
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