From: Jim Carlile (email suppressed)
Date: Thu May 06 2010 - 23:02:18 PDT
Reversal is much easier to cut than negative-- not so much dust problem and
flash frames.
16mm reversal is tailor-made for original cutting-- that's what it's all
about. Just use a nice Guillotine tape splicer and go to town. Tip: you can
cover up the splices by painting blooping ink over the frames-- this can be
just a simple India ink or any other kind of opaque black. You won't see
the splice.
Is it B/W? If so, then making prints is a hassle nowadays-- there's no
more B/W reversal print stock. You'd need an interneg, which is more $$$. But
B/W prints still look good-- even potentially better because you can
control the neg.
Copyright? What's that? It's all fair use anyway at your level right now.
So if you get famous you let your lawyer work it out.
Go for it. It'll be a pristine as you make it.
In a message dated 5/6/2010 8:46:39 P.M. Pacific Daylight Time,
email suppressed writes:
Hi guys,
So I'm a film student and I trying to figure out how to cut a film I shot
on 16mm reversal.
I kind of just want to cut the camera original and then figure out how to
add a voice over later, printing it when I can afford it and maybe just
using a boom box or my own voice before then.
I've been warned this is a terrible idea by someone I consider to
represent the odious forces of Production Quality but whose opinion I otherwise
respect.
My rationale is this:
A.) Pac Lab already scratched my footage, I have some exposure problems
and some dirt already on the film from using Temple University projectors. I
don't really know how much more I can screw up my film and the film has a
deliberate amateurish tone anyway.
B.) I love the difference between what I shot looks like projected and
what it looks telecined. I wonder if I started making prints if I would
dislike the lack of that originality, if I would lose the aura that maybe is part
of reversal filmmaking.
C.) This film might be illegal and just meant for my friends anyway. I
recorded a bunch of people's faces on the street and I might end up using
copyrighted footage.
Really the main problem is money but I wonder if it's a lost cause trying
to make this film look pristine and if I really care anyway.
I was wondering if anyone on here had any thoughts though.
Sorry for the long message.
Thanks,
Alex McCarron
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__________________________________________________________________
For info on FrameWorks, contact Pip Chodorov at <email suppressed>.