There was also a “guillotine” that cut an an angle for sound tracks. That way the splice didn’t “pop” when the track crossed the play head. Sherman
On Apr 20, 2020, at 2:09 PM, Robert Withers <[email protected]<mailto:[email protected]>> wrote: When I was working with 16mm film in the late ’60s we used two kinds of tape splicers for work print: the ”Guillotine,” which cut with a metal side blade and the ”Rivas,” which cut with a metal blade and usually cut the splicing tape with a serrated plate on top of the splice in the middle of the frame. Pennebaker and maybe others redesigned Rivas splicers by attaching a small razor cutter that would cut the tape on the frame line, making a more-or-less ”invisible” splice. I think a Guillotine splicer was used in 35mm also. For a permanent glue splice a ”hot splicer” was used in both 16mm and 35mm, which cut a frame with a metal block. You would lose a frame with each splice and the splice was visible unless used with black leader in the ”A & B roll” contact printing system. What happened between the 1920s and the 1960s? I’ve seen that picture of Elizaveta Svilova but I’m curious about Peter Kubelka. Cheers, Robert Robert Withers [email protected]<mailto:[email protected]> _______________________________________________ FrameWorks mailing list [email protected]<mailto:[email protected]> https://urldefense.com/v3/__https://mailman-mail5.webfaction.com/listinfo/frameworks__;!!Mih3wA!UCg7MPRCrKeXfrUlhx3aal8o7QLVZdF9wMZxjOL1MckK0qHtNR7tbt8XwwuY9ag$ Sherman George [email protected]<mailto:[email protected]> 858-229-4368
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