16mm Cheat Sheet:
1. Normal Cement splice:
there is an overlap between the two frames and part of the previous
frame is overlaid on the current one. This is the correct way to edit
camera originals for printing.
2. Bauer Cement Splice.
Totally invisible. One frame is butted against another with a V-groove
in the end of the film so there is a bit more surface area. Not very
common. Takes forever to make and is extremely weak.
3. Normal Tape Splice
Frames are butted against one another and tape applied over top. So
the frames on either side of the splice are slightly blurred while you
can often see the edges of the tape on the frames before them. If it
is made with unperforated tape and the edges trimmed, the film will
sometimes jump in the gate a bit. This is the correct way to edit
prints including workprints. It will not always go cleanly through
contact printers.
4. Kodak Presstape Splice:
A U-shaped chunk is taken out of each frame, they are butted against
one another, and splicing tape placed overtop. The U-cut is extremely
visible. This is the worst-looking splice on-screen but also the
strongest splice. A good choice for school media labs and other
applications where prints will be badly treated.
In 35mm there is enough space between frames that you can make a seamless
cement splice; the overlaid area doesn't protrude into the frame. You can't
do this in 16mm, so whenever possible it is a good idea to A-B roll camera
originals and let the contact printer do the work of switching from one roll
to the other seamlessly. That requires a lot more work in conforming or
editing and requires a lab with a printer that can manage timing marks, as
well as a person to time the print and create timing marks. This used to
add substantially to the cost of conforming and printing.
--scott
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