Movies for TV - Early Television Foundation

EDITING AND CONTINUITY 795
onto one film, the two prints may be labelled in two ways on the
leader. The editing system of marking is to have the two notches
even: that is, no twenty-six frame lead on the sound film. If this is
the case, it should be noted on the leader; otherwise they may be
printed in that position, resulting in a twenty-six frame mistiming
in the sound. If the sound has been advanced twenty-six frames,
that should be noted on the leader to help the laboratory do a
satisfactory job. Many films are received for processing,
and it
is impossible to be mind readers regarding individual instructions
and systems of sound matching.
On page 298 a table of conversion from feet to frames is given,
so it will suffice here to repeat that at the unvarying speed of
second and 36 feet a minute the number
twenty-four frames per
of feet per second is 0.6 feet. In other words, twenty-four frames
occupy 0.6 feet of 16 mm film. In the case of 35 mm travelling
at 90 feet a minute and also at the standard rate of twenty-four
frames per second, there are sixteen frames to 1 foot of film, i.e.,
twenty-four frames occupy
SPLICING
1 .5 feet.
The reader may ask, "Why include splicing in a chapter on
editing? Why not put it in with special effects and titling?" It
seems logical to learn how to make a good splice before editing or
trying effects and titles, and even if the reader goes no further, he
will at least have read how to edit and splice.
Although it is such a simple and minor job, it is amazing how
many people fail to make good splices. There is no short cut or
secret to good splicing. It is very much like rifle shooting: once
one has learned how to do it, it is easy and one never misses well,
hardly ever!
Figure 9-5 shows a splicer. This consists of two clamps combined
with a guillotine to trim the ends of the film before splicing.
There are two types of splicer, one for positive and one for negative
film. The only difference is in the overlap; 1/10 inch is used