There are a number of filmmakers who have made the splice, and the quality
of the cut, extremely important - Peter Gidal is (arguably) the most
important of these. If you think about it, it is an attribute of shaping
time which can be used - you may want to.

Stan's 'wink' is a wonderfully descriptive term.

(Perth - WA)

>Quoting Kevin Obsatz <>:
>> My goal isn't a perfectly clean, seamless print, but I'm wondering
>> if there are any tips I should follow. I heard a rumor once that
>> Brakhage would include frames of black leader in between shots to
>> make splices less visible - but that could be just a dumb rumor.
>It's true, but he used two frames. A cement-spliced shot one frame
>long is probably more likely to break or otherwise become damaged in
>You can detect these "pauses" not only in the film strip but on
>screen, and the less-harsh cut with a "wink" in its middle has a
>different feel than a harder cut And often in the same films Brakhage
>would include cuts made in the camera, thus without the two frames of
>But I concur with the other advice you have gotten about using a pro
>for A&B rolling, assuming you're going for a clean clear "look."
>Fred Camper
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