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Since no one here seems to know anything concerning s-8 flatbeds or an Estec,I want to know what you guys who cut your original camera film are using,especially if you're cutting sound.
I've actually seen a few super 8 sync blocks on ebay,is that what some of you are using?
At least for the short term my sound is going to be non-sync, and be layed down on a stripe put on after the editing is finished.
My editing gear is actually pretty simple. I have an editor/viewer plus a whole mess of splicers. It's kind of disturbing that a few years ago I was happily editing with just one overlap cement splicer. Then I decided I wanted to collect films and sometimes I put several on a reel. The problem is that many commercial films are polyester based, so I needed a tape splicer. Then I decided I wanted to get some of my films post-striped, and that striping over the speed bumps made by overlap splices doesn't work, so I needed to get a Bolex bevel splicer. All this plus splicers keep coming in as free bonusses when I buy equipment. So as far as splicers go, I'm fixed for life!
[QUOTE]Originally posted by BolexPlusx:
[QB]At least for the short term my sound is going to be non-sync, and be layed down on a stripe put on after the editing is finished.
<Who does your striping?>
Have you ever heard of ultrasonic splicers?They will splice polyester based film no problem.Back in the day they were very expensive,around 1200 bucks.I'm sure you can find one cheaper now.
The two projects I am working on will probably ether be done by EVT magnetics in England or by a friend of mine that stripes his own films.
EVT has a great reputation, but unfortunately no website. They can be contacted by E-mail though:
[email protected]
RE: Ultrasonic Splicers Oh, No! Not another splicer to add to the collection! But seriously, do this make for a smooth splice? For that kind of money I imagine they must.
Does anyone offer super mag film anymore? I think that is the missing link. Super 8 has had a revival because of the NLE systems. I think investing in 16mm editing would be a safer bet for sync sound.
I got a degree in film making back in 1976 and never have done any editing since. I do have a collection of old super 8 reels that I want to edit together. I must be getting too old or something but I can't remember the brand name of the splicer I used to use at the college lab. It was rather small and had two guillotine type hinged cutters-- basically a butt splicer. After the cut, you butted together the two ends you wanted to join and put tape on one side of the film (non-magnetic strip side). As I recall, I think we used just plain clear Scotch tape. Then you put the film in another part of the splicer, aligned the sprocket holes, and then the splice would re-cut the sprocket holes through the tape and trim the edges. That was it. Worked well as I recall but for the life of me, I can't remember the brand name. Can anyone out there give me a hand with the name?? Thanks.
You're thinking of a Ciro splicer.
Another down side to editing super 8 "film" is that no makes prints anymore either. So unless you plan on cutting up original film and projecting it to death, NLE is the best way to edit super 8.
Check this site for double system sound. http://people.freenet.de/Super8/
You?ll get everything in sync. and you can cut`n? splice your film.
And S8 prints are availableb at Super 8 Reversal lab, Netherland (contact printing) www.super8.nl and Andec Filmtechnik, Germany (contact prints + sound stripe) www.andecfilm.de .
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Super 8 has had a revival because of the NLE systems. I think investing in 16mm editing would be a safer bet for sync sound.[/QB][/QUOTE]
So where can a super 8/16 hybrid editor be found these days?S-8 pic/16 sound.
And S8 prints are availableb at Super 8 Reversal lab, Netherland (contact printing) www.super8.nl and Andec Filmtechnik, Germany (contact prints + sound stripe) www.andecfilm.de .
Will anybody make pos prints from super 8 negs for work prints and later answer and release prints?