[1969_2_SSA] Introducing the Acmade Pic-Sync

[Matthew]

By Russell Hurley

--

In following issues I hope to review some of the equipment which is brand new in Australia and fairly new in Hollywood and England. After circularising the main distributors in Melbourne and Sydney. I've had some very interesting stuff offered:- Berkey Colortran 9 lamp Mini Brute with dichroic lamps; the Sela mixer 2880 for Nagra; Gevachrome type 6-00 and high speed type 6-05 colour films, and also their television low contrast colour print film 9-02; Kudelskis Nagra synchroniser SLO and George Jensens Synchroniser 205. Sennheiser radio mike system for Nagra; ATC sound splicer and tape cutter; Eclair NPR Camera, Intercine editing machine; Eastern synchroniser and sound head; Luna Pro light meter; Ulher four track 4400 portable; some new Japanese 16mm viewers and the Japanese Doifex 16mm Camera; the Steenbeck ST 1600 Editing Table.

[Matthew]

This month i'd like to mention briefly two pieces of editing equipment which I think are really excellent. First is the Acmade Pic-Sync. It consists of a four gang synchroniser with picture viewer on the first wheel and sound heads mounted underneath on the other three. A three channel mixer, amplifier, speaker, and footage and frame counter complete the equipment.

Without wishing to be rude this is the poor man's moviola for it will do everything and a lot more, with the exception of running at a constant 24 frames per second. But at around $500 it puts an editor in business. Also handy for TV stations who screen originals the small screen 21/8th" x 1 1/2" can be used to sync. up 100% sound sync. effects and music.

The heads mounted under the magnetic film mean that all markings will be on the shiny side and so not clog the sound head subsequently during mixing. The picture mechanism is by rotating prism so the picture never blacks out during running.

Light output is good for even dense prints, but to get the sharpest picture the light path should be cleaned fairly often. Sound quality is excellent but as yet I have no knowledge of how often the heads need replacing. The heads can be retracted for original matching.

[Matthew]

The other machine to go with the Pic sync. is the Costruzione Incollatrici Rapide Splicer M2-16. If, like me, you can't pronounce that title, you'll call it the C.I.R. tape splicer. I mention this machine because it is surprising how many editing rooms still haven't got them. They cost a little over $100, but will save this amount on sprocketted joining tape and speed of use in a very short time. I used the 35mm version in London in 1962 and subsequently asked the distributors to import them. Now they are nearly everywhere.

The 16mm version will splice sound and image easily with cellulose tape.

Obtain a mylar tape for a few cents more and it won't bleed onto the next layer of magnetic film. It works like this. Cut off the two ends of the film with the cutter at the right, aligning the film on the pins. Then lay the two ends towards each other at the centre mark. Bring over a piece of cellotape and smooth out the bubbles. Then bring the top plate down and you cut off the excess tape and punch the sprocket holes where they should be.

Advantages are:- you never need lose a frame of picture when rejoining, it's much quicker as you don't have to wait for cement to dry.

Disadvantages:- don't use on original, picture only for workprint and beware of the cutters for sound, unless you have first dismantled them, heavily degauzed them, and tested the join for plops.

I saw the Acmade Pie Sync. in Rod Kinear Productions' cutting room, but it's sold by Sixteen Millimeter (Aust.) Pty. Ltd. The C.I.R. splicer is sold by Swift & Bleakley Pty. Ltd.