This also raises the issue of the objectification of temporality and process (experimental a/g film/cinema) in the guise of gallery installation where galleries have become high-end shops, purveyors of fetishised technology and associated merchandising.
Rob. On 14/02/2012 07:23, "nicky.ham...@talktalk.net" <nicky.ham...@talktalk.net> wrote: Brilliant, especially the last bit, which raises the whole issue of whether it's appropriate to show older work on new equipment. There was a great show at the Hamburger Bahnhof in Berlin about four years ago called Beyond Cinema: The Art of Projection, in which all the work was shown on equipment that was current at the time, including, eg a Peter Campus projection that used an original 1960s or (70s ?) video projector. This has also be an issue recently in representing early British video work, ie whether to show it on period cathode ray tube domestic TV sets, as some of the work, such as David Hall's, implicitly requires or assumes, or to show it on a modern CRT or, much worse, a flat screen. Nicky Hamlyn. -----Original Message----- From: David Tetzlaff <djte...@gmail.com> To: Experimental Film Discussion List <frameworks@jonasmekasfilms.com> Sent: Tue, 14 Feb 2012 5:49 Subject: [Frameworks] more on projector speeds That graphic I was sending to Josh Guilford notes an interesting feature of the Pageant 250S, which relates to the whole discussion of how projection affects the 'look' of a film, not just the duration. Almost all projectors have a 3-blade shutter, so at 16fps they flicker 48 time-per-second, at 18 fps they flicker at 54 times-per-second, and at 24fps they flicker at 72 times-per-second. Now, I can definitely see 48 pulse projector flicker, and find it annoying (and I have trouble watching PAL TV, because I can see the 50Hz flicker and it bugs me). But those specs, 50Hz TV and 48 pulse film projection were set because MOST people supposedly cannot perceive flicker at those rates. I think it's safe to say, though, that 24fps/72 pulse flicker, and good old NTSC (59.97 field pulses/sec) look the same to pretty much everyone. Anyway, not ALL projectors have 3 blades. Telecine projectors have five-blade shutters, with narrow openings at that (too dim to use for public projection). And some projectors have 2-blade shutters. The 250S has a "Kodak Super-40" shutter, which has spring-loaded movable blades. At the silent speed (18fps) the springs keep the blades in a three blade configuration, yielding 54 pulses per second. At 24fps though, the centrifugal force on the blades overcome the spring tension and the blades move into a two blade configuration, yielding "40 percent more screen illumination' and a 48 pulse flicker. However, depending on whether you change the speed before or after the projector is in forward motion, you can get the other shutter configuration with either sound or silent speed. That is, you can get 18fps in 2 blade mode (yielding 36 pulse flicker) or 24fps in 3 blade mode (yielding 72 pulse flicker). -- So if we really wanted to get anal retentive about how filmmakers intend their work to be shown, we'd have to know not just the frame rate, but the number of shutter blades. And the shutter-angle of however many opening there are... And, really, 2fps one way or the other is one of the smaller variables between different instances of projection. Are the projectors in a booth so their mechanical noise is muffled, or out in the open where the projector noise is audible? How big is the image on screen relative to the audience-screen distance. How bright is the image? What's the color temperature of the lamp? (warning: irony ahead) So if Warhol showed 'Sleep' with a 16mm projector running at 16fps, with a three 60-degree blade shutter, in an open room, 25 feet away from the screen, burning a 1000W incandescent lamp, through a 38mm f.1.8 lens, then that's the way to screen it, damnit. No messing with the flicker, no hiding the projector noise, no Xenon lamps that produce a cooler monochrome, or put out more light (unless you compensate the f-stop of lens to keep the lumens on screen constant, natch), no 25mm or 50mm lenses... Anything else is ILLEGITIMATE! Why, you might as well put Schwechater on a looper and run it in a museum gallery where people are walking in and out of the room all the time, and there's enough ambient light so they don't trip over each other, when we all know they should be in individual seats with side blinders locked in for the duration with one of those locking bars across their laps like a ride at Disney World! Show it RIGHT or don't show it at all! _______________________________________________ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ________________________________ _______________________________________________ FrameWorks mailing list FrameWorks@jonasmekasfilms.comhttps://mailman-mail5.webfaction.com/listinfo/frameworks ________________________________ This email is confidential and intended solely for the use of the intended recipient only. If you have received this email in error, please inform us immediately and then delete it. Unless it specifically states otherwise this email does not form part of a contract. Any views or opinions presented are solely those of the author and do not necessarily represent those of University College Falmouth. You should carry out your own virus check before opening any attachment. 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