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Super 8mm Film Splicing
Splicing is one of the best parts of the hobby. I originally used the
Kodak Presstape method but found that the tape interfered with the quality of the picture
being projected. Also, the tapes would often causes the projector to skip and cause the
audience to be distracteded, and worse, laugh! I have since re-spliced all of my movies
using a Japanese-built cement splicer. My splicer cuts, scrapes, then, in one motion,
aligns and applies pressure to the joint.
Bauer (made in Switzerland) also have an excellent splicer should you come across it. My
local camera store has two but at $100 each I thought this was a little(!) too much. In my
haste I offered $50 but was gently turned down. I guess they would rather have them on
display!
As I said, I use Kodak film cement and my productions have improved immensely. No more
additional noise from the projector and no more skips. I lose only one frame using cement
instead of the five, poor quality, cloudy frames (sometimes with bubble spots) using the
Presstape method. I still use Presstapes to join my out-takes and extra footage not used
in a movie; Later, I can remove the tape and glue the scenes together when I need them.
The Presstapes eliminate the loss of film frames gluing requires.
I have heard of other cement splicing methods including one whereby you
scrape the emulsion off of an entire frame (instead of the usual half frame) and then glue
the, now clear, whole frame to the back of the next frame. You end up with an invisible
splice.
There is also a "black-frame" method but this one I cannot quite conceptualize.
It involves splicing an entirely black frame between two shots. I guess since it is black
the eye mostly ignores the blip as it rolls by. Also, after watching Apocalypse Now, a
technique often employed was to fade to black and hold the black scene for a second or two
(or three). To me, I interpreted this as a chapter change as if I were reading a book.
I don't mean to gloss over splicing, since this is truly the heart of the matter when it
comes to filmmaking. Yes, you need to shoot good quality footage and throw in some
artistic viewpoints. F stops and camera angles can be learned and copied from other
talented pioneers. But it all won't matter if you cannot edit your movie. You no one else
to turn to when it comes to this department. For, this is what separates the layman from
the craftsman.
Cutting on the action, pacing of scene segments, color continuity, are but a few of the
myriad of tools available to the film editor. Combine this with the addition of sound and
you have created something more powerful than its individual parts. You have the power to
AFFECT what the audience thinks! And, good splicing is what will make your audience want
to see more. Essentially, you are trying to tease the audience visually while still
telling your story. This is why Super 8mm filmmaking (and regular 8mm and 16mm) is far
superior to video making. Time is of the essence and literally every frame is
examined for content and overall fit by the amateur filmmaker. Video just doesn't demand
this level of sophistication. How many home videos have you seen that were about 45
minutes long of someone's trip to Boringsville, USA? I would even argue that someone's
uncut three minute movie reel from 20 years ago would be more interesting to watch. Why?
Because, true filmmaking demands the cameraman edit some scenes inside the camera! Not all
editing is done on the splicer. Remember that!
Don't forget that splices and all of the other aspects of shooting super 8 may not be as
slick as a Hollywood production. But I would argue in some ways this is part of the
"feel" of super 8. Splices, for instance, are a fact of life unless you re-shoot
your finished film frame by frame - tough to pull off without the availability of slow
speed copying film. Splices give the audience the impression you were there. Overall, I
swing both ways on this issue of the professional versus the homemade production look.
Of course, technically bad footage is usually always bad! Over-exposed "thin"
images, bad focus, and jerky pans are but a few of the types of footage I always
eliminate. My motto is :Don't let super 8 be an excuse for poor filming habits. Utilize
the quirks in super 8 to your advantage. I find it interesting many higher formats try to
incorporate that "super 8 feel" into their productions.
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