Welcome to Sprocket School! This project is maintained by volunteer editors. A guide to editing.

Difference between revisions of "Splicing"

From Sprocket School
Jump to navigation Jump to search
 
(21 intermediate revisions by the same user not shown)
Line 1: Line 1:
There are a few different methods for '''splicing''' two pieces of film together.
There are a few different methods for '''splicing''' two pieces of film together.


* Best splicers and splicing methods for different film gauges and different circumstances
* Best [[splicer]] and splicing methods for different film gauges and different circumstances
* proper tape removal
* how to redo a splice, how to redo a splice on an archival print
* perforated and non-perforated tape


===Tape===
===Tape===
* Yellow tape or zebra tape is often used when building prints for platter or reels larger than 2k feet so that the splice could be easily identified later when the print was broken down. When working with archival prints or making repairs, only ever use clear archival splicing tape. Yellow tape tends to be thinner, and also very hard to remove when left for long periods on a print. NEVER use tapes not meant for splicing such as scotch tape or masking tape!
* Yellow, white, or zebra tape is often used when building prints for platter or reels larger than 2k feet so that the splice could be easily identified later when the print was broken down. When working with archival prints or making repairs, only ever use clear archival splicing tape. Yellow tape tends to be thinner, and also very hard to remove when left for long periods on a print. NEVER use tapes not meant for splicing such as scotch tape or masking tape!
* Make sure your splices do not show any gaps, the ends of the film should meet perfectly. Gaps can cause the splice to bend at right angles or "hinge" when running through the projector, and the splice may break. A good way to check is the hold the film gently on either side of the splice and bend the film slightly upwards. The film should form a curve, if it makes an angle like a hinge you should check the splice.
====Making Proper Tape Splices====
* Make sure your splices do not show any gaps, the ends of the film should meet perfectly. Gaps can cause the splice to bend at right angles or "hinge" when running through the projector, and the splice may break. A good way to check is the hold the film gently on either side of the splice and bend the film slightly upwards. The film should form a curve, if it makes an angle like a hinge you may need to redo the splice.


===RESOURCES===
===Cement===
* Splicing tape: [https://www.christys.net/ Christie's Editorial]
* Cement splices can only be made when working with print of '''acetate''' [[film base]]
====Making Proper Cement Splices====


===Ultrasonic===
===Ultrasonic===
* Ultrasonic splices can only be made with prints of '''polyester''' (or Estar) [[film base]]. They are generally considered permanent splices are should not be removed or redone by a projectionist.
===Gallery of Splices===
'''Click to enlarge'''
<gallery widths=150px heights=150px mode=packed>
File:yellotapesplice.jpg| Yellow "zebra" tape splice
File:Cement splice.jpeg| Cement splice (messily done) with tape on top
File:Ultrasonicsplice.png| Close-up of an ultrasonic splice


===Cement===
</gallery>


==Best Practices==
===Resources===
* Splicing tape: [https://www.christys.net/ Christie's Editorial]
* Tape, cement, splicers: [http://urbanskifilm.com/supplies.html Urbanski Film]


[[Category:Film handling]]
[[Category:Film handling]]
[[Category:Technique]]
[[Category:Technique]]
[[Category: Tools]]

Latest revision as of 17:35, 4 April 2017

There are a few different methods for splicing two pieces of film together.

  • Best splicer and splicing methods for different film gauges and different circumstances
  • proper tape removal
  • how to redo a splice, how to redo a splice on an archival print
  • perforated and non-perforated tape

Tape

  • Yellow, white, or zebra tape is often used when building prints for platter or reels larger than 2k feet so that the splice could be easily identified later when the print was broken down. When working with archival prints or making repairs, only ever use clear archival splicing tape. Yellow tape tends to be thinner, and also very hard to remove when left for long periods on a print. NEVER use tapes not meant for splicing such as scotch tape or masking tape!

Making Proper Tape Splices

  • Make sure your splices do not show any gaps, the ends of the film should meet perfectly. Gaps can cause the splice to bend at right angles or "hinge" when running through the projector, and the splice may break. A good way to check is the hold the film gently on either side of the splice and bend the film slightly upwards. The film should form a curve, if it makes an angle like a hinge you may need to redo the splice.

Cement

  • Cement splices can only be made when working with print of acetate film base

Making Proper Cement Splices

Ultrasonic

  • Ultrasonic splices can only be made with prints of polyester (or Estar) film base. They are generally considered permanent splices are should not be removed or redone by a projectionist.


Gallery of Splices

Click to enlarge

Resources