John Almond Posted January 12, 2011 Share Posted January 12, 2011 I am looking for a decent quality splicer guys, would you recommend tape or cement Link to comment Share on other sites More sharing options...
Premium Member andy oliver Posted January 12, 2011 Premium Member Share Posted January 12, 2011 Hi, generally i use tape for super 8 and 16mm and cement for standard 8. For super 8 i recommend the Wurker splicer.. One on ebay at present, uk based though http://cgi.ebay.co.uk/Wurker-Stereo-Super-8-Tape-Splicer-Kit-Cine-Films-/250755056486?pt=UK_Photography_VintagePhotography_VintagePhotoAccessories&hash=item3a622a8366 Link to comment Share on other sites More sharing options...
John Almond Posted January 12, 2011 Author Share Posted January 12, 2011 Ah, Im in UK as well, that looks like a nice splicer and the guy selling it is well respected over here. I will keep an eye on that one, cheers Link to comment Share on other sites More sharing options...
Bob Last Posted January 15, 2011 Share Posted January 15, 2011 My Bolex is a workhorse. Hammann is a work of art if you can find one - the best cement splice you can get. Link to comment Share on other sites More sharing options...
Premium Member Simon Wyss Posted January 15, 2011 Premium Member Share Posted January 15, 2011 Everything you want to have copied must be cemented or welded in the case of polyester base film. I think you don’t find a lab where a film full of tape joints will be put on a printing machine. Dailies/rushes are taped. Some work with Catozzo and likes, some prefer Rivas and likes. Magnetic stock is taped only. One can produce inaudible joints. Cement splices last as long as the film itself. Pressure-sensitive tape slowly dries up, becomes brittle, may fall off. Some of lesser quality tend to smear. Also consider film and image formats. CinemaScope originals must be spliced in two rolls. Actually, 16 mm must be A- and B-edited as well in order to make splices invisible. Same with all 8 mm film. Ninepointfive can accommodate the splice between frames. All this does not apply when pictures are being scanned and the edited data transferred back onto film. You learn to respect film and human work within it by making wet splices. I’d like to suggest reading this book: The Technique of the Film Cutting Room by Ernest Walter. Focal Press Link to comment Share on other sites More sharing options...
ignacio benedeti Posted January 15, 2011 Share Posted January 15, 2011 Tape splices made with Fuji Film tape last in first class conditin for more than 40 years now. Please, read this article from the british magazine International Movie Making, published two years ago: http://www.ibcinema.com/ib2006/super8/stable.pdf Link to comment Share on other sites More sharing options...
Andries Molenaar Posted January 16, 2011 Share Posted January 16, 2011 (edited) The only worry is that 3 meter of 8.5mm fuji splicing tape with 100 splices now costs around Euro 20,- Which is, considering the involved manufacturing costs, ridiculous. This fuji splicing tape can be had in many many shops in Japan (from stock!) at Yen 640 (last year). Imagine what the distributor price will be. Around 300-350? You would also be amazed at all the film and photography materials still available from stock. An eldorado! The sorry thing is none of these shops take an interest in selling through the Internet. So the one who does can (and does) charge anything. The best and cheapest splices come from CIR Catozzo splicers :) Edited January 16, 2011 by Andries Molenaar Link to comment Share on other sites More sharing options...
Mark Dunn Posted January 16, 2011 Share Posted January 16, 2011 The OP is using super-8 so he's not looking at A&B rolling. Cement splices overlap by about half a frane so are rather obtrusive. You also lose two frames if a cut has to be changed or re-made. The CIR splicer uses plain tape so the cost per splice is a fraction of that of the pre-perforated Wurker tape- about a hundred times cheaper, in fact. A tape splice can be remade again and again. You might find one on ebay. I'd want a very good offer for mine- I'd hate to be stuck without one. Link to comment Share on other sites More sharing options...
Nicholas Rapak Posted January 17, 2011 Share Posted January 17, 2011 (edited) I use a Bolex-Paillard 8mm cement splicer. It's easy to use once you get the hang of it, and you only lose one frame total, which is almost invisible at 18 FPS. Tape splices obscure more frames, and the splices are always clearly visible. Edited January 17, 2011 by Nicholas Rapak Link to comment Share on other sites More sharing options...
Mark Dunn Posted January 17, 2011 Share Posted January 17, 2011 There's an overlap so it's two frames on a remake. Sure, the overlap only takes up one frame, but it clatters through the projector. A well-made one-sided CIR splice covers two frames and is scarcely detectable. Well, mine are, anyway. Link to comment Share on other sites More sharing options...
Tim Halloran Posted January 18, 2011 Share Posted January 18, 2011 Tape splices made with Fuji Film tape last in first class conditin for more than 40 years now. Please, read this article from the british magazine International Movie Making, published two years ago: http://www.ibcinema.com/ib2006/super8/stable.pdf Nice article on the Fuji splicers, Ignacio. Thanks for posting. What's the story on that magazine, International Movie Making? I've heard of it, but is it still around? Anybody have any info on it or some contact info? Tim Link to comment Share on other sites More sharing options...
Claus Harding Posted January 18, 2011 Share Posted January 18, 2011 For cement, I can recommend the Hahnel Kollmatic (battery-driven with burr wheels) as an excellent precise unit: Claus. Link to comment Share on other sites More sharing options...
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