There are a number of filmmakers who have made the splice, and the quality of the cut, extremely important - Peter Gidal is (arguably) the most important of these. If you think about it, it is an attribute of shaping time which can be used - you may want to.
Stan's 'wink' is a wonderfully descriptive term. Peter (Perth - WA) >Quoting Kevin Obsatz <ke...@videohaiku.com>: > > >> My goal isn't a perfectly clean, seamless print, but I'm wondering >> if there are any tips I should follow. I heard a rumor once that >> Brakhage would include frames of black leader in between shots to >> make splices less visible - but that could be just a dumb rumor. > >It's true, but he used two frames. A cement-spliced shot one frame >long is probably more likely to break or otherwise become damaged in >printing. > >You can detect these "pauses" not only in the film strip but on >screen, and the less-harsh cut with a "wink" in its middle has a >different feel than a harder cut And often in the same films Brakhage >would include cuts made in the camera, thus without the two frames of >black. > >But I concur with the other advice you have gotten about using a pro >for A&B rolling, assuming you're going for a clean clear "look." > >Fred Camper >Chicago > >_______________________________________________ >FrameWorks mailing list >FrameWorks@jonasmekasfilms.com >https://mailman-mail5.webfaction.com/listinfo/frameworks _______________________________________________ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
