Cement Splicing Woes

[Roy Brown]

I guess I splice challenged but I am having a lot of trouble making good cement splices. I have been using tape for about six years including Wurker and Fuji. I decided to switch to cement and purchased a Bolex Bevel splicer. I followed the instructions and have used two different batches of cement and without fail I can easily pull my splices apart. Any Tips

P.S. I now have 3 Bolex splicers 1 being 16mm and a craig and get similar results.

Roy

[cameraguy]

Only thing I can think is that you may not be scrapping all of the emulsion off before applying the cement. Every last bit of emulsion must be taken off or the splice will be weak. I do mostly cement splices and when done correctly they are harder to break than a non splice area.

[capul8]

I agree. Sometimes scraped emulsion clogs the teeth of the scraper; be sure to clean it out. And be sure not to overscrape, or the meeting surfaces won't be flat against eachother.
Is it possible the glue is old?
Also, make sure no film lube is on film.
Good luck...
Bernie

[tom hardwick]

You're not trying to cement together polyester film are you? Won't work, and that's why Fuji sold tape splicers and not cement splicers.

You can try a tear a bit of reject footage. If you can't do it, it's polyester.

tom.

[Jon P]

I have been advised not to use cement splices if you are going to telecine because of the tension the process puts on the fim. The best splices are tape ones aparently. Also I have read the instructions on cine glue and it looks pretty noxious stuff not the sort of thing you would like to accidently spill on youself or drink.

[Matt Pacini]

I realize this is an older post, but I thought I'd correct this last statement.
I used tape splices on my film, Lost Tribes, and made sure they were good splices, and they came apart in Telecine!
Cement splices are difenitely better, by far, and that's all I'm going to use from now on.
Also, the tape splices cause anaother problem: when they go through telecine, the extra thickiness causes a verticle "jump" about 1/2 second before the cut goes through the gate. Really obnoxious, so stick with the cement edits, trust me!
Matt Pacini

[MovieStuff]

If you send the post house a bunch of 50 foot reels, they are going to charge you $250 an hour to do something that you can do for free at home OR they are going to charge you the same amount per hour handling lots of 2.5 minute segments. Would you want to pay $250 an hour for someone to do nothing but thread film and rewind?

Putting everything on the same reel saves money in the transfer. As far as the edit scratching your film, you don't have to view it to splice one end to another on a set of rewinds.

Roger

[This message has been edited by MovieStuff (edited August 17, 2001).]

[MadFor3D]

Oh, cool, I get it. Your just talking about splicing the smaller reels into a bigger one.
I don't have a viewer/editor or a projector, so I'll have to make something to do this. Cause right now winding it by hand from one to the other takes forever!

-M

[MadFor3D]

I would think that if you were paying for Telecine you would just send in the bulk reels and do all the edits on a computer.

Doesn't running the film on one of those little viewer/editor things scratch it up a lot?

How could you tell which shots were keeps and which were not if you can't see it synced to the sound till Telecined? anyhow?

Am I missing something? Paranoid?

-M

[Matt Pacini]

By the way, handling your film at all is always risky, and the best thing is to handle it only as much as it takes to splice together your 50ft rolls into 400 footers, but, having said that, if you get a good viewer, not a cheap one, you won'tscratch your film with it.
But you will get hairs & dirt on your film, just by unreeling it at all, so pay the extra to get it professionally cleaned before telecine.
It's worth the money.
Matt Pacini


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