Does anyone else here have difficulty with splicing super 8 film? It's sometimes dang near impossible to line up the tapes with the sprocket holes in the film. I've had to start over on occasion when everything didn't line up. Now standard 8 seems MUCH easier to splice or add leader to, so I don't have any concerns to speak of with that format. I am indeed using the pins on the splicer, but that doesn't seem to prevent occasional mishaps.

Tim,
I too generally feel that Standard 8 (and especially 16 mm) film is easier to tape slice than Super-8. The smaller perforations on Super-8 can make alignment a bear to do at times.I use a Kodak Presstape splicer for all my films and that includes a tool that really helps with getting the tape over the perforations.A steady hand also helps which in my advancing age is not as common as it once was.

Are you using the Kodak splicer? There is a video on youtube, I think by Janice Glesser. That helped me a lot. Can see if I find it again

Hi Tim, get a CIR splicer, it's the all singing and dancing splicer, been using one for a couple of months now and can't believe how I managed without one they are brilliant, Del.

Del is correct, the metal C.I.R. splicers really are the very best for accurate inexpensive splices that are very very strong when used with the official rolls of tape like jackro etc.

They are still a fairly manual " hands on" splice method though.

If you just want to place two uncut ends of film in a machine plus a tape, then with one press of a lever, have a fully automated splice made for you with the ultimate of ease.....the Agfa FS 8 takes some beating!

The splice tapes known as Hama style tapes, are still readily available here in the UK and no doubt will be elsewhere in the world.

As with all splices, I would still recommend the use of a good roller to apply some pressure to the finished splice at the end of the process no matter what method used.

I have used them for a while now, they are very good, although pricey, they are the most economical of the tape splicers. There
was a post either on here or the 8mm where a chap was selling them. Anyway, CIRs excellent, although I do like a good cement
splice, the MARGUET bevelled or LPL, with retractable pins give excellent results. I gave my AGFA tape splicer to my mate, I found
it a decent enough tool, but chasing the splices for refills, got to be a pain, so CIRs it was, when they were relatively cheap, in '87.

Wenn Sie hier auf Links zu eBay klicken und einen Kauf tätigen, kann dies dazu führen, dass diese Website eine Provision erhält.

The Agfa F8S Klebepresse splice tapes are readily available ALWAYS on e bay Uk in packs of 100 or 50 or 25.

So no shortage of supplies here and none for the immediate future having spoken with the suppliers in the recent past.

Werbung: http://www.ebay.co.uk/itm/SPLICING-TAPE-...pUAAOSwfcVUCbLk

Werbung: http://www.ebay.co.uk/itm/SPLICING-TAPE-...wIAAOxyx-BSbqFP

7 available, 153 sold, on the packs of 100 here, so what does that tell you regarding shortages and demand?

I've probably purchased 15 or so of these myself over the past few years before recently switching to "Jackro" and C.I.R. Deluxe here recently.

No I'm talking of years ago Andrew, I used to buy lots of stuff from my local photo shop, but gradually cine was being phased out,
this was long before ebay, so the pre made splices were said adios to, welcome CIR, which made great joins, and cheaper, the pro's
used them too. Though the cement splicers still do a nice job. I think my CIRs were about £20.00 back in the day, the 16mm was just
over £100.00, ex BBC, but a great bit of kit. The prices for these items now are a bit steep.

What's a local photo shop Hugh?

Long gone in this part of the world sadly.

Funnily enough, he kept it going until he died, his very attractive wife ran it for a while, but she was pushing video, so us cine men
were a nuisance. Before I obtained a tape splicer, I quite by chance discovered that Superglue did a sterling job, this was needs must,
as I had the second part of Star Wars to splice into the extended first part, unfortunately the second was on poly stock, this would be
'80/81 I think, but the splices have never been a bit of trouble.

Hugh! Are you telling that Super glue can be used as cement on polyester prints?

Hi Mats, yes it can, the beauty of this is that your splices don't come apart when lubricating a film, which some treatments will
affect the tape. When using, which is just the same as making a good cement join, you must scrape the surfaces and use a tiny
amount. A sliver of wood or I use a needle with the end of the eye nipped off, otherwise it spreads and makes a mess, so a tiny
dab will do the job. When I used it all those years ago, it used to be very strong, but I understand it has been diluted in strength
on account of idiots misusing it. When your two parts have been joined together, you might need a razor blade to free it, just in
case any made contact with the splicer, but it does the job, just be sparing and careful, practice on some scrap film first before
trying it on any prints.

Ahhhhh !!! ... Good old Super Glue . I just love that stuff and watching some folk sticking
themselves to it.

Thank you chaps for your replies!

Vidar, I actually have seen that video of Janice's. That's how I figured out how to use those splicing tapes, which remind me of butterflies. The problem for me is when you remove the backing paper, the tapes have to literally fall wherever they choose onto the film.

Hugh. I just might try some superglue as an experiment. Good advice.

You do need to ensure you have good light on the slicer Tim, and if need be a good quality magnifying glass, these two combined make it much easier, even for those with much younger eyes.

If tape is a must, I'd advise a CIR, they are very cost effective there must be hundreds of splices to a roll, where you pay the same
for 20 or so premade ones. By all means try the "supaglue splice" Tim and Mats, to ensure safety of a beloved feature, two pieces
of paper masking tape can be placed over the film to protect the picture area, a tiny dab, quick smear and close splicer. Good luck.

I will test it Hugh. I´ve never been a tape lover. I usually use a Hähnel collomatic motorized splicer for 8mm.

I've noticed already, in the short time I've been using the C.I R. The tapes adhesive is much more strong than that of the pre made Hama tapes. After a few runs of cleaning with filmguard over the years, the Hama splices, on a few occasions could come apart on projection after the gate as the take up reel would pull one side up to reel and leave the tape and other side of the film splice just outside of the sound head section.

No damage can ever be incurred from this, but it could at times be annoying, especially if it happened at the last splice from a 4 or 5 x 600ft joined feature.

It's not happened so far on any of my jackro splices, but to be fair, it's early days yet.

I would definitely recommend the C.I.R. method above all other tape methods, so long as you don't object to it all being a little more "manual" in its method than other tape splices.

I've noticed that too Andrew, they tend to dry out quickly too before application.

Yes Hugh. I try to use a F.I.F.O. system for my Hama tapes, to keep the adhesive at its best.
This may now however, go out of the window here now I've converted to C.I.R. and "Jackro".

Super glue on polyester was new to me. Cool!

I was a bit uncertain how to identify polyester with certainty. I guess most of you know how to, but I didn't. Found this page interesting on how to identify it:
http://www.brianpritchard.com/identifyin...r_film_base.htm

I have an old circular polarizer filter for 52mm canon which I no longer use (as I don't use the lens it was mounted on any more). I will find it again and bring it to the cabin where my films are and use it for this purpose.

If it'll tear Eivind, it's Acetate, if not, It's Polyester. It really is as simple as that to tell the difference between the two.
Acetate really is very very brittle and is partly why I'm not a huge fan of the stuff.

Can't understand the "brittle" acetate Andrew, it is quite tough stuff, considering the amount of film printed on it, I have
hundreds of titles printed on acetate with nary a splice in sight, and are still pliable, indeed I prefer acetate to Estar, it has stood
the test of time, 16mm, the majority are acetate, 35mm likewise, std 8mm were all acetate, again, my prints are in great shape.
The so called "acetate" from the recent prints from Germany, I do believe, call this new stock into question, but never in a million
years could one call the acetate used for decades brittle.

I've always found it to be very delicate Hugh, even on old stock prints. I cannot speak for Standard 8mm or 16mm as it is simply too long ago that I last had any 8mm and, as you know, I have never used 16mm.

Don't get me wrong, it poses no issue when projecting when all is well with our machines set up, but it certainly breaks a whole easier than Polyester when torn by hand. In fact I doubt my hands at least, could tear Polyester film.

The issue also with this newer Acetate stock from Germany , is this business of it "yellowing". I don't tend to buy many new prints now if I'm honest, so for me personally, I only have a handful of newer 200ft shorts where this is even applicable.

Andrew, I've never, nor do I think other collectors find it "brittle", that conjours up visions something that snaps as soon as you unspool it,
which acetate certainly doesn't, at least not with any films I handle. Film libraries ran businesses loaning out this stuff, as stated previously, the std 8mm prints were returned unharmed, unlike the s/8 copies that in many cases were ruined, but that wasn't the fault of the filmstock, that was the hirer/projector. I certainly would not buy any recent releases on the German version of acetate, it is yellow and it is brittle, so that would rule out me buying new product, but no issues with the older stock which is clear and supple.
The main thing with acetate, is it can be striped at home.