Thanks for the detailed notes everyone! Very helpful. Many cheers,
On Tue, Apr 1, 2014 at 3:18 PM, Andy Ditzler <[email protected]<javascript:_e(%7B%7D,'cvml','[email protected]');> > wrote: > Thanks, Peter and Herb, for these clarifications. Looking back at Sharits' > instructions, the only confusing thing is he asks the projectionist to > follow a separate diagram of how to project Version B, and this diagram is > not included. But I agree that you can work out how to do Version B from > his verbal description, albeit with some keystoning. > > Andy > > > Andy Ditzler > www.filmlove.org > www.johnq.org > Graduate Institute of the Liberal Arts, Emory University > > > On Tue, Apr 1, 2014 at 10:15 AM, Herb Shellenberger > <[email protected]<javascript:_e(%7B%7D,'cvml','[email protected]');> > > wrote: > >> What Peter said. "Version B" was accomplished at a screening here with >> relatively little difficulty a few years ago just by tilting the >> projectors, which were running in the middle of the stadium seating, rather >> than from the booth, to the side a little at timed intervals. The >> instructions give the times. I believe the keystoning was pretty minor, but >> that's not the point anyway. Seeing the gradually overlapping images was >> really interesting, especially when they were fully on top of each other. >> Peter Kubelka's Monument Film screening at NYFF 2012 also used the >> technique of projecting flicker films directly on top of each other. >> >> >> >> As to Ekrem's original question, I don't have anything to add >> unfortunately. >> >> *Herb Shellenberger* >> *Programs Office Manager* >> [image: cid:[email protected]] >> 3701 CHESTNUT STREET | PHILADELPHIA, PA 19104 >> phone: 215.895.6575 | fax: 215.895.6562 >> email: >> [email protected]<javascript:_e(%7B%7D,'cvml','[email protected]');>| web: >> www.ihousephilly.org >> >> >> >> >> >> *From:* FrameWorks >> [mailto:[email protected]<javascript:_e(%7B%7D,'cvml','[email protected]');>] >> *On Behalf Of *Peter Mudie >> *Sent:* Tuesday, April 01, 2014 9:56 AM >> >> *To:* Experimental Film Discussion List >> *Subject:* Re: [Frameworks] Paul Sharits multi-projection question >> >> >> >> Andy - you slowly move the left projector to the right and the right >> projector to the left until the frames align as one. >> >> Peter >> >> (Perth) >> >> >> >> *From: *Andy Ditzler >> <[email protected]<javascript:_e(%7B%7D,'cvml','[email protected]');> >> > >> *Reply-To: *Experimental Film Discussion List < >> [email protected]<javascript:_e(%7B%7D,'cvml','[email protected]');> >> > >> *To: *Experimental Film Discussion List >> <[email protected]<javascript:_e(%7B%7D,'cvml','[email protected]');> >> > >> *Subject: *Re: [Frameworks] Paul Sharits multi-projection question >> >> >> >> Dear Ekrem, >> >> >> >> I rented and showed Shutter Interface to my students last fall, and will >> do so again in a few months. In preparation, I talked to some folks who >> have also taught the film (hi Jeanne Liotta!) and went looking through all >> the Sharits writings I could find for any reference to the difference >> between gallery and theater versions, but found very little on this. I have >> the same rationale - he made the two-projector version and it remains >> rentable, so I rent it and show it. It's a super-accessible work. >> >> >> >> A couple of things - the written instructions you get from Film Coop >> inside the film can are ambiguous. Use version "A." Version B mentions the >> effect of making the two frames slowly merge on screen - but gives no >> instructions for how to accomplish this. (Maybe someone here can clarify?) >> And the soundtrack needs some extra care, since each projector will have >> its own sound. So if you are running it through the house PA, you will need >> to configure the channels so it's stereo sound, not mono. I couldn't access >> the house PA for this, so my solution was to bring two powered monitor >> speakers of my own, and run 1/4" out from each Eiki projector to its >> corresponding speaker. More work, but as you know that's what you're >> getting into with expanded cinema anyway. By the way, the sound happens >> only on the black frames. If you know that as you're watching the work, >> it's even cooler. >> >> >> >> It's a fantastic projection experience and we all loved it. I left some >> room behind the projectors for the students to go and observe the color >> frames as they moved through the projector. If you can see that as you >> observe the screen, there's no more spectacular lesson in the nature of >> film projection (that is, the "conversion" of still frames to "motion"). >> >> >> >> Andy Ditzler >> >> www.filmlove.org >> >> www.johnq.org >> >> Graduate Institute of the Liberal Arts, Emory University >> >> >> >> On Tue, Apr 1, 2014 at 1:02 AM, Ekrem Serdar >> <[email protected]<javascript:_e(%7B%7D,'cvml','[email protected]');>> >> wrote: >> >> Heyya Framers, >> >> >> >> So based on his notes, it seems that many of Paul Sharits' >> multi-projector pieces (Shutter Interface, Dream Displacement, among >> others) are primarily conceived as installations. However, as many of you >> know, there are also "theatrical" versions of these films, using two >> projectors instead of four, and foregoing other alterations to the >> machines. (There's a bunch of these over at Filmmakers Coop.) >> >> >> >> The question: Would you say its correct that Sharits made these black box >> versions to simply give the films an expanded (hoho) life, especially >> during a time period when film projection was a rarer sight in galleries? >> So not necessarily the intended version, but a different (and obviously >> more accessible) way to showcase his ideas. >> >> >> >> I hear this might be a sensitive subject; but the way I see it is that he >> did make the prints, and as long as it's presented appropriately no >> problem. We'll be showing the two-projector version of Shutter Interface in >> Austin next week (which i had the pleasure of seeing at Hallwalls some >> years back), so just preparing. >> >> >> >> -- >> >> ekrem serdar >> >> austin, tx >> >> >> _______________________________________________ >> FrameWorks mailing list >> [email protected]<javascript:_e(%7B%7D,'cvml','[email protected]');> >> https://mailman-mail5.webfaction.com/listinfo/frameworks >> >> >> >> _______________________________________________ >> FrameWorks mailing list >> [email protected]<javascript:_e(%7B%7D,'cvml','[email protected]');> >> https://mailman-mail5.webfaction.com/listinfo/frameworks >> >> > > _______________________________________________ > FrameWorks mailing list > [email protected]<javascript:_e(%7B%7D,'cvml','[email protected]');> > https://mailman-mail5.webfaction.com/listinfo/frameworks > > -- ekrem serdar austin, tx -- --Ekrem Serdar (Sent from mobile)
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