camera view - clear mylar tape
1977 this is a digital version of an article from The Times Print Archive, before it starts online in 1996.
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Most people understand.
It is enough to try to make a good movie for the family.
Friends or special occasions, so it's not hard to understand why when the movie finally comes back from the processor, they delay removing the work of poor exposure, stress or accidental shooting, and rearranging the scene in a logical order, and add the title where needed.
As a result, they ended up with a drawer filled with unmarked, uncut, small reels of Super 8 movie films that are hard to show and don't have to take time to watch.
Conscious operation editing
The footage of the film will make the photographer look more professional in quality and make the movie watched by the audience more interesting.
In order to form a coherent set of small reels, the process of editing them is not just to stitch them together on a large scroll.
The process of editing does include the free use of good splicing technology, but a good editing work depends more on original thinking and careful planning.
To get started, you need the following material and equipment viewer, a pair of rewind tape, thin film cement or pull-over tape, an empty reel, a light grease reel, a pair of scissors, a single blade, A roll of 1/4 masking tape, a roll of white lead film, notepad, pencil or pen, Clean Wireless cloth or white gloves, and the reel of film you will be using.
Also, please take the projector and screen with you and make sure the table you are working on is clean and dust free.
The ad sets up the audience to have them directly in front of you, but to make it easier for your eyes to work, any window sitting in the room is by your side, not behind or in front of you.
The desk lamp is also better than the ceiling lamp.
The first thing you have to do is review all your movie clips.
Fix a small reel when rewind on the left, then thread the movie through the audience and connect the end to the empty reel on the right.
Each roll of small film should start with a few feet of protective white leader, otherwise the first few feet of your film will be covered with fingerprints, when folding the film into the slot of the reel, tape will remain or creases.
If your movie has not yet been surpassed by white leaders, use a few feet to stitch it together.
Be careful to drive back at a comfortable viewing speed.
When making corresponding notes on your mat, assign a number to the first volume of film.
Then repeat it with other rolls of film.
Once you 've reviewed all the movie reels, divide them into several categories.
For example: Volumes 1, 3 and 6 may be the birthday of young Johnny.
Scrolls and 4 summer picnics.
Wedding of Janet and Jerry.
The last half of Reel 7 and reel 8-Washington tour.
Decide which category you want to work with first.
You can arrange the volumes from each category into a convincing movie, and then later you can add each finished movie to one or more large reels, and let each film have the corresponding title.
Let's start with Johnny's birthday category.
According to the notes, Reel 1 shows Johnny's first birthday party.
The third volume was taken at his second birthday party, and the third volume was Volume 6.
Most of the film looks good, notes say, only a few feet too dark or out of focus.
This is good basic information, but these scrolls must now be reviewed more carefully.
It's better to look at each reel at least two or three times in the audience until you start to recognize each lens of the camera and each action.
After reviewing the footage of all Johnny's birthdays, certain points stand out.
The first volume begins with a close-up of his birthday cake, followed by the scene of Grandma and Grandpa getting off the bus, waving and then entering the house.
After that, the film was released about 10 feet and it's hard to say who it is.
Next is a photo of the grandparents entering the birthday party room, then everyone around the table, wearing a party hat and singing a picture of "Happy Birthday" while Johnny is sitting there, sitting in his high chair was beyond recognition.
Next was Johnny sitting in his high chair making a medium shot of his birthday cake, but the shot was out of focus.
Next is the footage of Johnny's mother feeding him a small piece of cake.
There are also some short photos on the ad with a wide variety of guests who sit with their parents for cake and coffee, while young guests are squeezing balloons and honking.
Suddenly, the movie turned orange, followed by the white leader.
Reel 3 showed Johnnie having a pool party for his second birthday.
The reel was properly exposed, but now Johnny is walking and running, and while the camera is trying to keep up with him, some of these lenses are blurry and disturbing.
Volume Six blew a balloon for Johnny's three-year-old birthday.
The guests sing around the table;
Johnny opened his gift;
Johnny blew out the candle;
All the children who play hide and seek;
Johnny opened his gift.
All of these lenses look useful, but a lot of them are repeated.
There is a total of 150 feet, about 7 minutes and a half, about the lens of Johnny's birthday.
This should be reduced by at least half.
The first step is to remove all lenses that are poorly exposed, beat, or out of focus, but do so by using a fusion splicer instead of scissors.
A good fusion machine is more precise than a pair of scissors.
However, when stitching like projection is very obvious and may disorient your audience, do not use the splitters for bending or diagonal cutting.
Buy a joint that makes a straight joint, also called a butt joint.
A good tape stitching is better than cement stitching unless you are planning to copy your movie.
The copying machinery used in the commercial laboratory cannot accept tape joints.
The tape joint is stronger than the cement joint, and if it is made properly, it will not jump during the projection process.
Even experienced filmmakers have a hard time making long-lasting cement stitching, which is why professional film editors are happy to get rid of the drudgery of cement stitching when Mylar stitching tape is first launched.
In order to cut out the technically unacceptable lens, start by winding the film through the audience.
Make a small mark with your grease pencil at the beginning (head)and end (tail)
Every part that has to go.
Make a different marker to specify the head and tail of each shot so that you do not accidentally remove the lens that belongs to it.
When you rewind the film, stop at each mark and pull out the film so that you can set it on the register pin of the fuse pick and then cut the film at the mark with the blade of the fuse pick.
After cutting each section, use a small piece of 1/4 masking tape on the shiny side of the film only to re-add a good lens.
Don't bother to do Mylar tape splicing at this stage.
After the ad deletes all the bad shots, look again at the remaining footage on the audience.
This time, assign a number to each shot.
Write the numbers in the head of each lens with your grease pencil.
Write the corresponding number on the notepad with a brief description of the shoot.
For example, shoot a close-up of birthday cake, about 5 feet movies.
When you do this for every photo, give the movie a break.
Read your notes a few times and start imagining what you want to say in the movie.
As far as Johnny's birthday party is concerned, the theme is definitely the Chronicle of these events.
But will this be a simple document?
Birthday hat and balloon comedy?
Or the nightmare of running, the screaming child?
Considering that the actual material is mostly simple, it seems logical to have the film record Johnny's first three birthdays directly.
On notepad, it is possible to rearrange each numbered shot from a three-volume birthday movie to fit this view.
The close-up of the cake says "Happy Birthday to Johnny" and has a candle, which is a good choice for the first shot as it clearly identifies the theme.
Next could be a few photos of guests arriving, followed by photos of guests singing around the table.
Next, Johnny's mother gave him a medium picture of his birthday cake, followed by a short picture of several lively guests.
To end the film, you can use the extra shot of the first shot if there are any extra shots.
After the last shot, you can add about 5 feet of the black movie, then the edited second birthday party version, and so on.
You can write the title later, take photos and insert them.
All of these rescheduled shots make sense on paper, but what will they look like on a movie?
Now you have to put every shot on your body in the order you write it down.
Do not shorten any lens at this point;
Assemble them temporarily with masking tape instead of permanent Mella tape.
During the filming of the film, we will omit some shots.
After you cut off the photos, you can put them aside or store them in a big box without dust-don't put them in a trash can.
After watching the assembled movie several times through the audience, you may decide to restore one of the omitted shots or rearrange the order of several shots.
Once you are satisfied with the assembly, you can decide roughly how long each shot should run.
Remember, when you have an immobile lens for someone to enter the room, don't have too many room shots if nothing interesting happens on the screen.
Leave enough footage so you don't slow down and chop up the movie.
Trim those lenses that are too long and then review your work in the audience.
Up to now, the film should start to look good: The theme is clear, the photography effect is good, and the overall effect is not boring.
But this is not the end.
So far, you 've only seen the film in a hand-shaking, flashing audience.
It can become faster, slower, brighter, or darker when projected.
AdvertisementHowever, before putting the movie into the projector, you need to make a good pull tape joint at each masking tape joint.
Any remaining grease pencil marks must be gently wiped with a wireless cotton cloth or gloves, as the foreign residue on the film accumulates at the door of the projector, causing scratches and dirt, read the instructions that come with your Fusion pick-up and Mella tape and practice stitching on some discarded lenses.
Always make double copies, that is, tape on both sides of the movie.
Keep in mind that the piercings on the tape must be placed entirely on the piercings on the film, and any excess tape along the edge of the film should be carefully trimmed with a razor or scissors.
If you do not comply with these precautions, your connector can cause the film to clog up in the projector, thus damaging part or all of your lens.
In the process of screening, bad splicing will also make the movie jump.
While you have to use only enough tape to cover a frame on each side of the cut, most of the pre-cut splicing tape is longer than this one.
So cut off your before using it;
You will get twice the use from it.
The joint shall start and end only on the frame line;
Otherwise they will be displayed on the screen.
Each piece of splicing tape should cover one frame on both sides of the cut, which should be one frame on both sides of the film.
Splice about 5 feet of the white leaders to your roughly cut head and tail, then project and watch the movie a few times.
If it doesn't look as good on the screen as it does in the audience, don't be discouraged.
Go back to your audience and make any necessary changes.
Then go back to the projector.
If the film is satisfied, you have already arrived at "fine work" and can now clean up your work area.
The next step is to make the title.
These should be easy to read and should not stay on the screen for too long.
A three-minute film can turn a serious five-minute movie into a farce.
If you do not want to print or write the title yourself, you can purchase a news type or template from an art store or a commercial stationery dealer.
You can get the press type with almost any font you want, but it is more expensive than the template and the template can be used over and over again.
You can transfer your font to a piece of colored paper or cardboard or paint on it.
You can also illustrate these words with homemade sketches, or you can paste drawings or photos next to the title.
Another way is to place the title on a piece of glass and then the background below.
When you shoot these titles, make sure they light up evenly on both sides and are not very bright in the center.
To be safe, shoot each title under several different uniform exposures and make sure to check the camera's focus before shooting.
Also, during the shooting process, make sure your title remains completely stationary and shoot with a camera mounted on a tripod or copystand.
You can also try basic animation techniques to make the title look like it was written on the screen.
For example, for a beach movie, you can write the title on the sand.
To do this, you need a camera that can take a single frame using a cable release attachment.
Install the camera on a tripod, then draw a part of the letter and stop.
Shoot the tivo frame and draw the next part of the letter instead of stopping to take two more frames.
Continue this way until the entire title is written, but make sure you don't have the hand to shoot the drawing letters.
On the screen, the title seems to be written in the sand.
Janet Keeley is an independent film producer and freelance writer.
A version of the file was printed on page 105 of the New York edition on September 11, 1977 with the title: camera view.