I'm just getting into 16mm filmmaking.
I bought a 16mm bolex and have a working projector. I also purchased a splicer and presstape.
Do you have any suggestions on a piece of equipment i could use to edit on 16mm? I have been looking at gang synchronizers and steenbecks online.
I'm not exactly sure what I should get.
Editing 16mm Film Traditionally?
Moderator: Andreas Wideroe
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avpproductions6
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- Real name: Matthew
Re: Editing 16mm Film Traditionally?
You can get by with a Zeiss Moviscop viewer and a pair of rewinds. Not as swank as a steenbeck, but a lot easier to ship and store! You should also consider investing in a Ciro guillotine splicer. Its faster and easier to splice and the tape is cheaper than presstapes, however those splicers are pricey, proabably $100 used unless you're lucky. Once you've used a guillotine splicer you'll never want to use press tape again.
The sync block is only needed if you are conforming A&B rolls of negative for printing or have sync sound on mag stock. They are also handy for getting frame accurate counts of your film if you were to send film off for printing. Most people use them these days for door stops or boat anchors, but if you're really hardcore you can use them to jury rig your own hand cranked contact printer.
The sync block is only needed if you are conforming A&B rolls of negative for printing or have sync sound on mag stock. They are also handy for getting frame accurate counts of your film if you were to send film off for printing. Most people use them these days for door stops or boat anchors, but if you're really hardcore you can use them to jury rig your own hand cranked contact printer.
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avpproductions6
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- Real name: Matthew
Re: Editing 16mm Film Traditionally?
I like the design of the guillotine splicer. I might save up for one. Thanks for the help!
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Mmechanic
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Re: Editing 16mm Film Traditionally?
Great attitude!
Viewers are helpful. I am a professional motion-picture film editor, so trust me when I speak of the Moviola, of the Steenbeck or other flatbed editing apparatus. Yes, a Zeiss Moviscop is not bad a tool.
16 is too small for direct inspection. With 35 you can literally edit hands-on at the kitchen table. Do keep in mind that the film you exposed in your camera is unique, the original as we say. If your viewer is not perfectly clean or something not in proper working order, you risk to damage valuable footage. In professional work only copies are run through viewing machines, picture and sound. Normally we have dailies or rushes parallelled with so-called sound copies, that is magnetic film recordings from the original magnetic tapes, mostly DAT today. Remember also that you want to mark both bands, especially in case you separate the actual editing work from the pure physical cutting and assembling. Please do me a favour and do not use grease pencils (China markers). You will have little grease specks all over film, viewer, and projector, a nuisance. Felt markers are the right thing. To wipe off you have a soft cotton cloth and a little surgical spirit. Mark on the film base, not on the coating.
You can work with film cement with TAC base stock, with self-adhesive tape or with a welding apparatus. These allow to join polyester base film for all times. Pressure-sensitive tape can be peeled off, you can edit down to single frames.
Synchronizers can be very handy but they exist actually for conforming. The original is made up in one, two or more bands parallel to the finished work copy, now called edit copy. Two bands, designated A and B, are in play with checkerboard cutting. Because of the too narrow frame line, asymmetric cement splices or weldings are made with special equipment. The image has a certain additional length at both ends that overlaps with opaque black spacer. The splice is thus hidden behind the spacing stock. Two passes will be made on the printing machine. The assembly will go A1 and spacer in roll B, then B2 and spacer in roll A, and so on.
What more does one need? Cores, cans or cartons, rubber bands, hold-down tape (I recommend vinyl tape 471 by 3M), split reels, cotton gloves, notepad, loupe, scissors, and a nylon velvet cloth, about 10" square in size, overlocked. To clean film, fold cloth two times, drip only little spirit on it, lay film on and fold over. With one hand apply almost no pressure flat on, with the other wind film through so slow that film is dry when wound on itself. Rub cloth clean often, far away from film, and proceed.
There are many more things about the wonderful thing called film editing. Maybe that you’ll feel the desire to print yourself sooner or later. You can do it yourself with the camera. Set an additional frame length into the outer film loops. Buy print stock with a lab or directly from FilmoTec (Orwo brand films) or Eastman-Kodak.
Viewers are helpful. I am a professional motion-picture film editor, so trust me when I speak of the Moviola, of the Steenbeck or other flatbed editing apparatus. Yes, a Zeiss Moviscop is not bad a tool.
16 is too small for direct inspection. With 35 you can literally edit hands-on at the kitchen table. Do keep in mind that the film you exposed in your camera is unique, the original as we say. If your viewer is not perfectly clean or something not in proper working order, you risk to damage valuable footage. In professional work only copies are run through viewing machines, picture and sound. Normally we have dailies or rushes parallelled with so-called sound copies, that is magnetic film recordings from the original magnetic tapes, mostly DAT today. Remember also that you want to mark both bands, especially in case you separate the actual editing work from the pure physical cutting and assembling. Please do me a favour and do not use grease pencils (China markers). You will have little grease specks all over film, viewer, and projector, a nuisance. Felt markers are the right thing. To wipe off you have a soft cotton cloth and a little surgical spirit. Mark on the film base, not on the coating.
You can work with film cement with TAC base stock, with self-adhesive tape or with a welding apparatus. These allow to join polyester base film for all times. Pressure-sensitive tape can be peeled off, you can edit down to single frames.
Synchronizers can be very handy but they exist actually for conforming. The original is made up in one, two or more bands parallel to the finished work copy, now called edit copy. Two bands, designated A and B, are in play with checkerboard cutting. Because of the too narrow frame line, asymmetric cement splices or weldings are made with special equipment. The image has a certain additional length at both ends that overlaps with opaque black spacer. The splice is thus hidden behind the spacing stock. Two passes will be made on the printing machine. The assembly will go A1 and spacer in roll B, then B2 and spacer in roll A, and so on.
What more does one need? Cores, cans or cartons, rubber bands, hold-down tape (I recommend vinyl tape 471 by 3M), split reels, cotton gloves, notepad, loupe, scissors, and a nylon velvet cloth, about 10" square in size, overlocked. To clean film, fold cloth two times, drip only little spirit on it, lay film on and fold over. With one hand apply almost no pressure flat on, with the other wind film through so slow that film is dry when wound on itself. Rub cloth clean often, far away from film, and proceed.
There are many more things about the wonderful thing called film editing. Maybe that you’ll feel the desire to print yourself sooner or later. You can do it yourself with the camera. Set an additional frame length into the outer film loops. Buy print stock with a lab or directly from FilmoTec (Orwo brand films) or Eastman-Kodak.
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avpproductions6
- Posts: 3
- Joined: Tue Nov 04, 2014 5:00 am
- Real name: Matthew
Re: Editing 16mm Film Traditionally?
That viewer is everywhere on ebay! I'll look into getting one possibly.
Do you think this type of editor is good to use?
http://www.ebay.com/itm/OLD-RARE-8-16-M ... 2ed9235c39
I've never seen one before, but it looks interesting.
Do you think this type of editor is good to use?
http://www.ebay.com/itm/OLD-RARE-8-16-M ... 2ed9235c39
I've never seen one before, but it looks interesting.
Re: Editing 16mm Film Traditionally?
The sync block is only needed if you are conforming A&B rolls of negative for printing or have sync sound on mag stock. They are also handy for getting frame accurate counts of your film if you were to send film off for printing. Most people use them these days for door stops or boat anchors, but if you're really hardcore you can use them to jury rig your own hand cranked contact printer.
woods01
Posts: 814
Joined: Thu Jul 31, 2003 2:09 am
Location: Vancouver
woods01
Posts: 814
Joined: Thu Jul 31, 2003 2:09 am
Location: Vancouver
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