[Frameworks] July 2014 Update on Lawrence Brose
Dear Friends and Supporters of Lawrence Brose, The most important thing to communicate here is to express the gratitude that Lawrence is feeling right now for all the support he has received over the duration of this nearly six year ordeal. 108 letters of support are being submitted to the Court to ask for leniency in sentencing. When the plea deal was presented by the DA to Lawrences attorneys, it offered Lawrence a chance to leave this nightmare behind. Please remember that Lawrence is still living under court mandated probation requirements as he has since the beginning of the allegations. This has not been an easy road for Lawrence, but the letters of support have certainly lifted his spirits and reminded him of his own value. Family and friends, fellow artists, colleagues, artists he has supported, legal justice advocates, distinguished members of the Buffalo community and representatives of the national art world he has worked in, all want to put this chapter behind so he can return to be the artist and arts mentor he is. The sentencing hearing is taking place on Wednesday, September 3rd at 3pm in the new federal court building, (2 Niagara Square in downtown Buffalo) in Hon. Chief Judge William M. Skretnys court. Please take a moment to realize that all of your support has been deeply appreciated and helpful. Sincerely, The Lawrence Brose Defense Fund Team ** We still need to remind everyone that freedom from this prosecution has cost Lawrence dearly, financially and otherwise, and of the need to continue to raise significant funds for Lawrences mounting debt. To make tax deductible donations toward Lawrences defense please log on to http://ncrj.org/lawrence-brose/ and donate to the Artist Fund for Lawrence Brose. We want to encourage everyone to visit Lawrences defense fund website to catch up on what is new, view the artwork that has been donated for sale and read the compelling letters of support from notable people who have voiced their outrage and concern for what is happening to Lawrence. www.lawrencebroselegaldefensefund.com Thank you for your continued support. The Lawrence Brose Legal Defense Fund Team ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
[Frameworks] technical question about modifying the shutter operation of an EIKI 16mm film projector
I would like to make the following technical consultation; My name is Xavi Hurtado working in independent video and with 16 mm ephemeral latinamerican found footage film. I'm modifying a 16mm EIKI film projector with an engineer for working in alive film performance; my most important idea is to become independent the shutter operation placing a engin that would control the shutter operation with diferent speeds. But I don´t wan t simply to speed up or down the shutter (independently from the main engine operation, the one which which moves the film ) I would like to change the time duration for black (obstruction of light) and the time duration to show the image. (I'm not sure if I'm explaining well or enough acurately in English) My idea to get that; was to work with two independent shutters, drived by two diferent motors. The black area of each shutter could be as a black half moon and the thing is that I would like to put both shutters in the same axis as I said driving them with diferent motors (step motors probably) . I think that way It could be controled separately the speed of the shutter (of both shutters) from the amount of black obstruction of ligth and from the amount of light flow. Which could be achieve through more or less light; moving synchronously the two half moon shutters with separate two motors. At this point the engineer thinks that would be practically the same effect that to work with only one shutter (with tree slots) at diferent speeds Anybody can advise me? What do you think about that... there would be really an insignificant diference between one or two shutters? Or the posibilities of the idea are a sufficient promise to try to buid the two shutters ? On the other hand before I build a hardware and a software that controls the power intensity of the lamp and the speed of the main engine of another EIKI 16mm projector depending on the frequency or the volumen of an input sound (also is posible to control those projector parameters from a graphic interface in the computer made with Max).. and it Works but now I also wants to control the shutter. Thanks Xavi Hurtado Aquest correu electrònic i els annexos poden contenir informació confidencial o protegida legalment i està adreçat exclusivament a la persona o entitat destinatària. Si no sou el destinatari final o la persona encarregada de rebre'l, no esteu autoritzat a llegir-lo, retenir-lo, modificar-lo, distribuir-lo, copiar-lo ni a revelar-ne el contingut. Si heu rebut aquest correu electrònic per error, us preguem que n'informeu al remitent i que elimineu del sistema el missatge i el material annex que pugui contenir. Gràcies per la vostra col·laboració. Este correo electrónico y sus anexos pueden contener información confidencial o legalmente protegida y está exclusivamente dirigido a la persona o entidad destinataria. Si usted no es el destinatario final o la persona encargada de recibirlo, no está autorizado a leerlo, retenerlo, modificarlo, distribuirlo, copiarlo ni a revelar su contenido. Si ha recibido este mensaje electrónico por error, le rogamos que informe al remitente y elimine del sistema el mensaje y el material anexo que pueda contener. Gracias por su colaboración. This email message and any documents attached to it may contain confidential or legally protected material and are intended solely for the use of the individual or organization to whom they are addressed. We remind you that if you are not the intended recipient of this email message or the person responsible for processing it, then you are not authorized to read, save, modify, send, copy or disclose any of its contents. If you have received this email message by mistake, we kindly ask you to inform the sender of this and to eliminate both the message and any attachments it carries from your account. Thank you for your collaboration. ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] technical question about modifying the shutter operation of an EIKI 16mm film projector
Fascinating! On Thursday, July 31, 2014, FCO. JAVIER HURTADO MOMPEO xhurt...@ub.edu wrote: I would like to make the following technical consultation; My name is Xavi Hurtado working in independent video and with 16 mm ephemeral latinamerican found footage film. I'm modifying a 16mm EIKI film projector with an engineer for working in alive film performance; my most important idea is to become independent the shutter operation placing a engin that would control the shutter operation with diferent speeds. But I don´t wan t simply to speed up or down the shutter (independently from the main engine operation, the one which which moves the film ) I would like to change the time duration for black (obstruction of light) and the time duration to show the image. (I'm not sure if I'm explaining well or enough acurately in English) My idea to get that; was to work with two independent shutters, drived by two diferent motors. The black area of each shutter could be as a black half moon and the thing is that I would like to put both shutters in the same axis as I said driving them with diferent motors (step motors probably) . I think that way It could be controled separately the speed of the shutter (of both shutters) from the amount of black obstruction of ligth and from the amount of light flow. Which could be achieve through more or less light; moving synchronously the two half moon shutters with separate two motors. At this point the engineer thinks that would be practically the same effect that to work with only one shutter (with tree slots) at diferent speeds Anybody can advise me? What do you think about that... there would be really an insignificant diference between one or two shutters? Or the posibilities of the idea are a sufficient promise to try to buid the two shutters ? On the other hand before I build a hardware and a software that controls the power intensity of the lamp and the speed of the main engine of another EIKI 16mm projector depending on the frequency or the volumen of an input sound (also is posible to control those projector parameters from a graphic interface in the computer made with Max).. and it Works but now I also wants to control the shutter. Thanks Xavi Hurtado Aquest correu electrònic i els annexos poden contenir informació confidencial o protegida legalment i està adreçat exclusivament a la persona o entitat destinatària. Si no sou el destinatari final o la persona encarregada de rebre’l, no esteu autoritzat a llegir-lo, retenir-lo, modificar-lo, distribuir-lo, copiar-lo ni a revelar-ne el contingut. Si heu rebut aquest correu electrònic per error, us preguem que n’informeu al remitent i que elimineu del sistema el missatge i el material annex que pugui contenir. Gràcies per la vostra col·laboració. Este correo electrónico y sus anexos pueden contener información confidencial o legalmente protegida y está exclusivamente dirigido a la persona o entidad destinataria. Si usted no es el destinatario final o la persona encargada de recibirlo, no está autorizado a leerlo, retenerlo, modificarlo, distribuirlo, copiarlo ni a revelar su contenido. Si ha recibido este mensaje electrónico por error, le rogamos que informe al remitente y elimine del sistema el mensaje y el material anexo que pueda contener. Gracias por su colaboración. This email message and any documents attached to it may contain confidential or legally protected material and are intended solely for the use of the individual or organization to whom they are addressed. We remind you that if you are not the intended recipient of this email message or the person responsible for processing it, then you are not authorized to read, save, modify, send, copy or disclose any of its contents. If you have received this email message by mistake, we kindly ask you to inform the sender of this and to eliminate both the message and any attachments it carries from your account. Thank you for your collaboration. ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] /////Chicago/////Upcoming//////
On Wed, Jul 30, 2014 at 5:59 PM, Thomas Dexter thomas.dex...@gmail.com wrote: Also - If anyone is inspired to offer Chicago recommendations (people to meet, art / performance / film venues to visit) I am all ears.. Welcome! Subscribe to Cine-File: http://cine-file.info/list.htm Meet folks at... Chicago Filmmakers: http://chicagofilmmakers.org/cf/index.php The Nightingale: http://nightingalecinema.org/ Doc Films: http://docfilms.uchicago.edu/dev/ -Josh B Mabe ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] technical question about modifying the shutter operation of an EIKI 16mm film projector
I don't think it would be a matter of modifying it but completely redesigning it. You might want to look inside a Bolex camera to see an example of how a variable shutter works. The Bolex has two sets of shutter leaves and a gadget that pulls them apart as a ring is moved forward and back on the shaft. This works well, but it's not a thing you could easily fabricate into an existing projector. If I were doing it, I would toss the existing projector entirely and I would build an electronic projector from the bottom up along the lines of the Kinoton projectors. The Kinoton has stepper motors driving the two sprockets and a stepper motor driving the shutter, and they are all controlled by a small microcontroller. You could do something similar using an existing junk projector chassis and add a second shutter. It would be fairly easy for software in the microcontroller to change the shutter phase. It would seem much easier to do this than to try and implement a variable pitch shutter entirely mechanically, and it would also make speed control a whole lot easier. --scott ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] technical question about modifying the shutter operation of an EIKI 16mm film projector
Scott, Did Kinoton ever implement this digital stepper design with their 16mm line? It would fascinating to watch the live manipulation of shutter phase if such a thing were possible. By that I mean varying the shutter relative to motion on the screen. Applying or decreasing (removing?) motion blur so to speak. On Thu, Jul 31, 2014 at 9:54 AM, Scott Dorsey klu...@panix.com wrote: I don't think it would be a matter of modifying it but completely redesigning it. You might want to look inside a Bolex camera to see an example of how a variable shutter works. The Bolex has two sets of shutter leaves and a gadget that pulls them apart as a ring is moved forward and back on the shaft. This works well, but it's not a thing you could easily fabricate into an existing projector. If I were doing it, I would toss the existing projector entirely and I would build an electronic projector from the bottom up along the lines of the Kinoton projectors. The Kinoton has stepper motors driving the two sprockets and a stepper motor driving the shutter, and they are all controlled by a small microcontroller. You could do something similar using an existing junk projector chassis and add a second shutter. It would be fairly easy for software in the microcontroller to change the shutter phase. It would seem much easier to do this than to try and implement a variable pitch shutter entirely mechanically, and it would also make speed control a whole lot easier. --scott ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] technical question about modifying the shutter operation of an EIKI 16mm film projector
Did Kinoton ever implement this digital stepper design with their 16mm line? The combo 16mm/35mm projectors do this. What's more, they use the same motor to drive the intermittent... you just put a different sprocket on the shaft and flip a switch, and the computer pulls it down one 16mm frame rather than one 35mm frame. Want to run 3-perf 35mm instead of 4-perf? Flip a switch and it sets the pulldown for that. It is ingenious as hell, reliable, and a joy to use. No cam follower to need constant greasing and adjustment, no intermittent leaking oil all over your shoes. It would fascinating to watch the live manipulation of shutter phase if such a thing were possible. By that I mean varying the shutter relative to motion on the screen. Applying or decreasing (removing?) motion blur so to speak. You wouldn't see much change in motion blur, what you'd see is just a change in the duration that each frame is shown, so there would be a change in flicker. To change the motion blur you'd have to make the adjustment on the camera side. --scott ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
[Frameworks] Best quality 16mm film digitizing
I¹m not sure if this original email came through. I might have sent it to the wrong address for this group (I apologize if this has already been posted). Lawrence I have a number of 16mm film prints that I would like to get transferred to digital format. I know that there has been much discussion on this and I¹ve gone back and read some of the postings but I haven¹t found a direct answer to what I would like to know. I would like to know what is the best quality transfer I should be looking for. I have a quote from ColorLab in Rockville, MD and another one from Metro Post. Metro Post is cheaper but it is not telecine (just says ³hi-def film scan²). So before I go any further I thought that I should ask for suggestions from all of the great people here. These are all finished films in good shape (unfortunately the original negatives and Mag sound were thrown out by WRS). I don¹t want to say that cost is no issue but if I am going to preserve these films I¹d rather end up with the best quality, even if I need to space it out over time due to cost. Also, one of the films runs at 18fps (sound is on separate tape). Is this an issue? I really appreciate any suggestions or feedback. Thanks! Lawrence Brose ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Best quality 16mm film digitizing
Lawrence, The first and foremost thing is that the Association of Moving Image Archivists website has a brand-new Supplier Directory http://www.amianet.org/sites/all/files/Supplier%20Diretory%20-%202014.03.pdf that lists many of the resources anyone needs for the preservation of your materials. It's being updated constantly. Secondly, you should have a plan for what you are doing. If you are thinking preservation, you have to do 2K or 4K scanning rather than HD transfers. You should ask for copies of the digital DPX files in both the raw scan and fixed scans if you are doing any timing or cleanup. Then you should also have them deliver the final uncompressed or FinalCut Pro files for your use. The files should be given to you on both hard drive and LTO-6 tape (if you can get it -- if not, LTO5 would be fine.) They should both be migrated every four or five years. For my hard drives, I always buy a very large drive (usually 8TB to 12TB) for one or two films since you will want a mirror raid on it. For extremely expensive projects, I put them on two hard drives. Yes, it sound very OCD, but this is about preservation and redundancy, not about expediency. As for a film at 18fps. You should first scan it at 24p and keep that raw scan. If you are doing any dust and scratch removal, it has to also be done at 24p and be kept. That will be your preservation master. Then, the lab can create a 18fps umcompressed or FCP file and synch it to sound. I'm working with Jack Rizzo's Metro Post now and they are doing a very good job. I've worked with ColorLab many times and I trust them implicitly as well. It would also be a matter of doing your research and seeing what the best transfer would be for your material. I always ask what scanners and software they will be using and read the recent papers that are coming out of the new research on scanners, etc. Best regards, Dennis Doros Milestone Film Video PO Box 128 / Harrington Park, NJ 07640 Phone: 201-767-3117 / Fax: 201-767-3035 / Email: milefi...@gmail.com Visit our main website! www.milestonefilms.com Visit our new websites! www.mspresents.com, www.portraitofjason.com, www.shirleyclarkefilms.com, To see or download our 2014 Video Catalog, click here http://cdn.shopify.com/s/files/1/0150/7896/files/2014MilestoneVideoCatalog.pdf?75 ! Support Milestone Film on Facebook http://www.facebook.com/pages/Milestone-Film/22348485426 and Twitter https://twitter.com/#!/MilestoneFilms! See the website: Association of Moving Image Archivists http://www.amianet.org/ and like them on Facebook http://www.facebook.com/pages/Association-of-Moving-Image-Archivists/86854559717 AMIA 2014 Conference, Savannah, Georgia, October 8-11, 2014 http://www.amianet.org/ On Thu, Jul 31, 2014 at 10:32 AM, Lawrence Brose lawrencebr...@gmail.com wrote: I’m not sure if this original email came through. I might have sent it to the wrong address for this group (I apologize if this has already been posted). Lawrence I have a number of 16mm film prints that I would like to get transferred to digital format. I know that there has been much discussion on this and I’ve gone back and read some of the postings but I haven’t found a direct answer to what I would like to know. I would like to know what is the best quality transfer I should be looking for. I have a quote from ColorLab in Rockville, MD and another one from Metro Post. Metro Post is cheaper but it is not telecine (just says “hi-def film scan”). So before I go any further I thought that I should ask for suggestions from all of the great people here. These are all finished films in good shape (unfortunately the original negatives and Mag sound were thrown out by WRS). I don’t want to say that cost is no issue but if I am going to preserve these films I’d rather end up with the best quality, even if I need to space it out over time due to cost. Also, one of the films runs at 18fps (sound is on separate tape). Is this an issue? I really appreciate any suggestions or feedback. Thanks! Lawrence Brose ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Best quality 16mm film digitizing
Thank you Dennis for your quick and through response. This is all very helpful information. I will check out the link to the Supplier Directory. Best, Lawrence On 7/31/14 10:50 AM, Dennis Doros milefi...@gmail.com wrote: Lawrence, The first and foremost thing is that the Association of Moving Image Archivists website has a brand-new Supplier Directory http://www.amianet.org/sites/all/files/Supplier%20Diretory%20-%202014.03.pdf that lists many of the resources anyone needs for the preservation of your materials. It's being updated constantly. Secondly, you should have a plan for what you are doing. If you are thinking preservation, you have to do 2K or 4K scanning rather than HD transfers. You should ask for copies of the digital DPX files in both the raw scan and fixed scans if you are doing any timing or cleanup. Then you should also have them deliver the final uncompressed or FinalCut Pro files for your use. The files should be given to you on both hard drive and LTO-6 tape (if you can get it -- if not, LTO5 would be fine.) They should both be migrated every four or five years. For my hard drives, I always buy a very large drive (usually 8TB to 12TB) for one or two films since you will want a mirror raid on it. For extremely expensive projects, I put them on two hard drives. Yes, it sound very OCD, but this is about preservation and redundancy, not about expediency. As for a film at 18fps. You should first scan it at 24p and keep that raw scan. If you are doing any dust and scratch removal, it has to also be done at 24p and be kept. That will be your preservation master. Then, the lab can create a 18fps umcompressed or FCP file and synch it to sound. I'm working with Jack Rizzo's Metro Post now and they are doing a very good job. I've worked with ColorLab many times and I trust them implicitly as well. It would also be a matter of doing your research and seeing what the best transfer would be for your material. I always ask what scanners and software they will be using and read the recent papers that are coming out of the new research on scanners, etc. Best regards, Dennis Doros Milestone Film Video PO Box 128 / Harrington Park, NJ 07640 Phone: 201-767-3117 / Fax: 201-767-3035 / Email: milefi...@gmail.com Visit our main website! www.milestonefilms.com http://www.milestonefilms.com/ Visit our new websites! www.mspresents.com http://www.mspresents.com , www.portraitofjason.com http://www.portraitofjason.com , www.shirleyclarkefilms.com http://www.shirleyclarkefilms.com/ , To see or download our 2014 Video Catalog, click here http://cdn.shopify.com/s/files/1/0150/7896/files/2014MilestoneVideoCatalog.pd f?75 ! Support Milestone Film on Facebook http://www.facebook.com/pages/Milestone-Film/22348485426 and Twitter https://twitter.com/#!/MilestoneFilms ! See the website: Association of Moving Image Archivists http://www.amianet.org/ and like them on Facebook http://www.facebook.com/pages/Association-of-Moving-Image-Archivists/86854559 717 AMIA 2014 Conference, Savannah, Georgia, October 8-11, 2014 http://www.amianet.org/ On Thu, Jul 31, 2014 at 10:32 AM, Lawrence Brose lawrencebr...@gmail.com wrote: I¹m not sure if this original email came through. I might have sent it to the wrong address for this group (I apologize if this has already been posted). Lawrence I have a number of 16mm film prints that I would like to get transferred to digital format. I know that there has been much discussion on this and I¹ve gone back and read some of the postings but I haven¹t found a direct answer to what I would like to know. I would like to know what is the best quality transfer I should be looking for. I have a quote from ColorLab in Rockville, MD and another one from Metro Post. Metro Post is cheaper but it is not telecine (just says ³hi-def film scan²). So before I go any further I thought that I should ask for suggestions from all of the great people here. These are all finished films in good shape (unfortunately the original negatives and Mag sound were thrown out by WRS). I don¹t want to say that cost is no issue but if I am going to preserve these films I¹d rather end up with the best quality, even if I need to space it out over time due to cost. Also, one of the films runs at 18fps (sound is on separate tape). Is this an issue? I really appreciate any suggestions or feedback. Thanks! Lawrence Brose ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com
Re: [Frameworks] Did Kodak almost stop making all film?
I was told recently by a tele-cine operator at iDailies in London, which is digitising all the 35mm test rolls for the new Star Wars movie, that Kodak are continuing to make some stocks until at least 2017 as several studios want to go back to shooting on film. Nicky. -Original Message- From: Fred Camper f...@fredcamper.com To: Experimental Film Discussion List frameworks@jonasmekasfilms.com Sent: Thu, 31 Jul 2014 1:20 Subject: [Frameworks] Did Kodak almost stop making all film? http://online.wsj.com/articles/kodak-movie-film-at-deaths-door-gets-a-reprieve-1406674752?mod=WSJ_hp_RightTopStoriesAs I understand this, they were considering stopping all film manufacturing, in all gagues, including of print stock. Does anyone have more information?Fred CamperChicago___FrameWorks mailing listFrameWorks@jonasmekasfilms.comhttps://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Did Kodak almost stop making all film?
There's this, but it doesn't reveal much more: http://blogs.indiewire.com/theplaylist/quentin-tarantino-christopher-nolan-judd-apatow-jj-abrams-team-up-to-save-film-stock-20140730 On Thu, Jul 31, 2014 at 10:34 AM, nicky.ham...@talktalk.net wrote: I was told recently by a tele-cine operator at iDailies in London, which is digitising all the 35mm test rolls for the new Star Wars movie, that Kodak are continuing to make some stocks until at least 2017 as several studios want to go back to shooting on film. Nicky. -Original Message- From: Fred Camper f...@fredcamper.com To: Experimental Film Discussion List frameworks@jonasmekasfilms.com Sent: Thu, 31 Jul 2014 1:20 Subject: [Frameworks] Did Kodak almost stop making all film? http://online.wsj.com/articles/kodak-movie-film-at-deaths-door-gets-a-reprieve-1406674752?mod=WSJ_hp_RightTopStories As I understand this, they were considering stopping all film manufacturing, in all gagues, including of print stock. Does anyone have more information? Fred Camper Chicago ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks -- www.bellavistafilm.com www.slowtale.net ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
[Frameworks] Balagan fundraising screening: Tonight, 8:30pm
TONIGHT at 8:30: screening in the park Tonight at 8:30pm: a screening to benefit Balagan's Fall 2014 season, on the grass in magical Post Office Square. The weather should be just right, there will be cushions to sit on; bring a friend, a snack and a few bucks to contribute to Balagan's funds! Films and videos by: Dominic Angerame (San Francisco) Stephen Broomer (Toronto) Mark Cetilia (Providence) Rene Dongo (Boston) LJ Frezza (NY) Lorenzo Gattorna (Baltimore) Ernesto Livon-Grossman (Boston) Haruka Mitani and Michael Lyons (Kyoto) Ben Pender-Cudlip (Boston) Robert Todd (Boston) Douglas Urbank (Boston) Enormous thanks to the filmmakers above for donating the rentals of their films. More about them here. *** Special delivery from Brooklyn! We will have these beautiful new totes by Madeline Weisburg available at the screening! They measure 15 by 16 and are made of canvas. To pre-order yours, donate $15 or more -- or just bring some cash tonight.We can also ship. Banner image: Mountain Lying Down by Lorenzo Gattorna
Re: [Frameworks] Did Kodak almost stop making all film?
This is good news for filmmakers who actually work in film :-) Sent from my iPhone On Jul 31, 2014, at 9:56 AM, Vera Brunner-Sung vbs...@gmail.com wrote: There's this, but it doesn't reveal much more: http://blogs.indiewire.com/theplaylist/quentin-tarantino-christopher-nolan-judd-apatow-jj-abrams-team-up-to-save-film-stock-20140730 On Thu, Jul 31, 2014 at 10:34 AM, nicky.ham...@talktalk.net wrote: I was told recently by a tele-cine operator at iDailies in London, which is digitising all the 35mm test rolls for the new Star Wars movie, that Kodak are continuing to make some stocks until at least 2017 as several studios want to go back to shooting on film. Nicky. -Original Message- From: Fred Camper f...@fredcamper.com To: Experimental Film Discussion List frameworks@jonasmekasfilms.com Sent: Thu, 31 Jul 2014 1:20 Subject: [Frameworks] Did Kodak almost stop making all film? http://online.wsj.com/articles/kodak-movie-film-at-deaths-door-gets-a-reprieve-1406674752?mod=WSJ_hp_RightTopStories As I understand this, they were considering stopping all film manufacturing, in all gagues, including of print stock. Does anyone have more information? Fred Camper Chicago ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks -- www.bellavistafilm.com www.slowtale.net ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Films made on 15/70mm
this makes imax look rinky dink... ''The production was shot with an innovative camera that places a 360° image on each single frame of 10-perf 70mm film. It was then projected onto a circular screen using a special projector mounted in the ceiling above the audience, engulfing viewers in a continuous, seamless large-format image.'' Mi Pais Vasco -Vasque Country National Pavillion Film- 1992 Expo,Sevilla http://brcweb.com/Projects/mi-pais-vasco-basque-national-pavilion/#.U9p8puNdWzk 2014-07-29 9:19 GMT-04:00 Scott Dorsey klu...@panix.com: I have never shot Imax but I have shot Todd-AO 70mm before. The thing about improvised 70mm stuff is that there are basically two 70mm standards. One has the perfs out at the edge of the film and is used for aerial camera work and the like, while the other has the perfs closer in so that there is room for sound tracks outside the perfs. It's traditional to shoot 65mm in camera, and then contact print the 65mm camera original to a 70mm print since the frame layout and perf positions are the same; the 70mm film just has a little extra on the outside for tracks. What this means is that you can't use existing aerial cameras or a Hasselblad with a 70mm back to shoot stop motion animation unless the camera or back has been modified to handle the narrower motion picture perfs. If you want to do hand drawn animation, though, it should not be too hard to get 65mm clear leader, draw on it, and have the lab print it to 70mm. FotoKem will still do 70mm printing and they might have some clear leader for you. Technicolor in Glendale might still. It would be great fun to try hand-drawing on the huge Imax frame. --scott ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
[Frameworks] From Venezuela traveling to Washington.
Hi frameworks! from Venezuela traveling to Washington. At this moment we're working on a documentary project about a great exponent of afrovenezuelan music and cocoa farmer: BelénPalacios. The director of this project (adriana vila) and me (luis macias) will be traveling to Washington DC this week to make a couple of interviews. We are looking for an Audio sound Technician that can work with them for half of day, on this Saturday august 2nd, from 2PM to 8PM. It would be 1 interview that can involve some music because the interviewee is a player and will probably perform live during the interview. If anybody is available in the area, please contact us. Please, keep in mind that we have some minimum budget to pay but this is a very low budget documentary and it's a project we've been working in for a a few years already, so we are looking for any help we can get. Thanks and best regards, Luis Macías - Luis Macías 629709266 Skype: Luis-maci * http://vimeo.com/luismacias/videoswww.luismacias.es http://www.luismacias.es/* *www.cratercollective.com/ http://www.cratercollective.com/* *www.notesforthekiss.com http://www.notesforthekiss.com/* ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Did Kodak almost stop making all film?
The reason Kodak is so challenged to continue making film, is the simple fact of the manufacturing process. Kodak has only manufactured film on a massive scale. They don't have the means to produce small or boutique runs of various stocks. (Side note: Did anyone see that Kodak had some of their idled film coating lines up for sale on ebay recently for basically scrap prices? the main coating wheel is 4 stories high). What is really going on is Kodak has to be able to forecast how much film of a certain type will be sold. Once they have that forecast, they manufacture and coat what is called a master roll 54 wide and 5200 feet long. From that roll, all of the individual gauges are cut and perforated and packaged, everything from 70mm down to super-8. This is the reason you see so many stocks going into the discontinued notices, or finish to order with absurd minimum quantities is because of the need to be sure a master roll will be sold withing the expiration period. What I believe has happened is the studios have done just this, they've entered into a contract with Kodak to justify Kodak coating more master rolls of the various color negative stocks. Nothing has been said as to what the availability of other types of stocks, such as black and white, recording film, print film, etc will be. I fear some of these lower volume items will eventually go discontinued as the prior master roll is used up. There's a good more detail about the whole process here: http://silverbased.org/plus-x-kodak-woes/ On Wed, Jul 30, 2014 at 4:48 PM, Fred Camper f...@fredcamper.com wrote: http://online.wsj.com/articles/kodak-movie-film-at- deaths-door-gets-a-reprieve-1406674752?mod=WSJ_hp_RightTopStories As I understand this, they were considering stopping all film manufacturing, in all gagues, including of print stock. Does anyone have more information? Fred Camper Chicago ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Did Kodak almost stop making all film?
I've always wondered just how movie film is made. I remember a letter on this site about a year ago where someone suggested building a smaller machine. Can anyone recomend a site that explains the process? Respectfully, F. Smith On 7/31/2014 2:49 PM, Sean Weitzel wrote: The reason Kodak is so challenged to continue making film, is the simple fact of the manufacturing process. Kodak has only manufactured film on a massive scale. They don't have the means to produce small or boutique runs of various stocks. (Side note: Did anyone see that Kodak had some of their idled film coating lines up for sale on ebay recently for basically scrap prices? the main coating wheel is 4 stories high). What is really going on is Kodak has to be able to forecast how much film of a certain type will be sold. Once they have that forecast, they manufacture and coat what is called a master roll 54 wide and 5200 feet long. From that roll, all of the individual gauges are cut and perforated and packaged, everything from 70mm down to super-8. This is the reason you see so many stocks going into the discontinued notices, or finish to order with absurd minimum quantities is because of the need to be sure a master roll will be sold withing the expiration period. What I believe has happened is the studios have done just this, they've entered into a contract with Kodak to justify Kodak coating more master rolls of the various color negative stocks. Nothing has been said as to what the availability of other types of stocks, such as black and white, recording film, print film, etc will be. I fear some of these lower volume items will eventually go discontinued as the prior master roll is used up. There's a good more detail about the whole process here: http://silverbased.org/plus-x-kodak-woes/ On Wed, Jul 30, 2014 at 4:48 PM, Fred Camper f...@fredcamper.com mailto:f...@fredcamper.com wrote: http://online.wsj.com/articles/kodak-movie-film-at-deaths-door-gets-a-reprieve-1406674752?mod=WSJ_hp_RightTopStories As I understand this, they were considering stopping all film manufacturing, in all gagues, including of print stock. Does anyone have more information? Fred Camper Chicago ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com mailto:FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
[Frameworks] Experimental film about Holland Island in Chesapeake Bay?
I remember once hearing about an experimental film about Holland Island, which sunk into the Chesapeake bay, but I can't remember the filmmaker. Has anybody else seen this? ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
[Frameworks] 16mm projectors
Hello: I have numerous non working Eiki (not slot load) and Bell and Howell projectors to donate. None work but all have minor problems easily fixable. Anyone who is seriously interested can contact me. Happy to refer you to someone in the SF Bay area who can repair them. You must pick up in SF. I also have a Neumade power winder for sale. $50.00 Best regards, Stephen Parr Director Oddball Film+Video www.oddballfilm.com Oddball Films www.oddballfilms.blogspot.com 275 Capp Street San Francisco, CA 94110 Phone 415.558.8112 Fax 415.558.8116 For a link to our latest projects: oddballfilm.com/projects_2013.pdf http://letterboxd.com/oddballfilm/lists/ Follow us on facebook and Twitter! http://www.facebook.com/oddballfilm http://twitter.com/Oddballfilms On Jul 31, 2014, at 2:05 AM, frameworks-requ...@jonasmekasfilms.com wrote: Send FrameWorks mailing list submissions to frameworks@jonasmekasfilms.com To subscribe or unsubscribe via the World Wide Web, visit https://mailman-mail5.webfaction.com/listinfo/frameworks or, via email, send a message with subject or body 'help' to frameworks-requ...@jonasmekasfilms.com You can reach the person managing the list at frameworks-ow...@jonasmekasfilms.com When replying, please edit your Subject line so it is more specific than Re: Contents of FrameWorks digest... Today's Topics: 1. Re: Bolex 16/super 16 conversion (Nicholas Kovats) 2. seeking Morgan Fisher contact (Andy Ditzler) 3. Re: seeking Morgan Fisher contact (Mark Toscano) 4. °*-*° Directors Lounge Screening - Elaine Tedesco - Whispering -Thu 31 July 2014 °*-*° (Klaus W. Eisenlohr) 5. 14 Hours Left to Support Microscope's Screenings, Expanded Cinema other Events (LBurchill) 6. Screenings in San Francisco and Los Angeles (Pablo Marin) 7. FLEXfest 2015 call for entries (Beebe, Roger W.) 8. Looking for several well functioning Slide Projectors (NYC) (Kevin T Allen) 9. Did Kodak almost stop making all film? (Fred Camper) 10. Call for entries - 2014 - Transient Vision:Festival of the Moving Image (Brian Murphy) 11. July 2014 Update on Lawrence Brose (defensef...@lawrencebrose.com) 12. /Chicago/Upcoming// (Thomas Dexter) -- Message: 1 Date: Wed, 30 Jul 2014 09:43:46 -0400 From: Nicholas Kovats nkov...@gmail.com To: Experimental Film Discussion List frameworks@jonasmekasfilms.com Subject: Re: [Frameworks] Bolex 16/super 16 conversion Message-ID: CAARfJiJ2_TH+TU1rOtg+ZkA5BZ4Lt4GtWtX5e7FfGf8Ld7Dj=g...@mail.gmail.com Content-Type: text/plain; charset=UTF-8 David, Douglas Palmer d...@filmisfine.co is a leading proponent and practitioner of the Ultra16 format based in the UK. He has converted Bolex 16mm cameras and a Bolex 16mm projector, e.g. http://filmisfine.co/bolex-ultra-16-camera-sprocket/ http://filmisfine.co/an-ultra-16-projector/ http://filmisfine.co/ultra-16-projector-at-the-finish/ http://filmisfine.co/is-ultra-16-the-answer/ Cinelicious in California has a very rare Ultra16 gate implemented for their URSA Diamond and Spirit Datacine. i.e. http://cinelicious.tv/we-love-film/small-formats. They can output 4K if you are so inclined. Nicholas On Tue, Jul 29, 2014 at 6:29 PM, Dave Tetzlaff djte...@gmail.com wrote: Does anyone have experience with, comments on Ultra 16mm which creates wide-screen 16 by widening the gate to expose between the top and bottom of the sprocket holes, thus: 1. The mount does not need to be recentered. 2. Pretty much any 16mm lens should cover. 3. The footage can be used as regular 4x3-ish standard 16mm. I assume one issue would be finding a transfer service able to scan it to HD or whatever, since blow-ups to 35mm no loner seem to be a thing, as 35mm no longer seems to be a thing. ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks -- Message: 2 Date: Wed, 30 Jul 2014 12:24:50 -0400 From: Andy Ditzler a...@andyditzler.com To: Experimental Film Discussion List frameworks@jonasmekasfilms.com Subject: [Frameworks] seeking Morgan Fisher contact Message-ID: cangjuvwwj6jqqhjbtte5_rycsbvn0gj7yo-f4dk7fvcmnfj...@mail.gmail.com Content-Type: text/plain; charset=utf-8 Hello, I am trying to screen Morgan Fisher's Projection Instructions and understand that it's only available directly from him. Could anyone share contact info with me? Thanks, Andy Ditzler -- Andy Ditzler www.filmlove.org www.johnq.org Graduate Institute of the Liberal Arts, Emory University -- next part -- An HTML attachment was scrubbed... URL: https://mailman-mail5.webfaction.com/pipermail/frameworks/attachments/20140730/4dc43040/attachment-0001.html -- Message: 3 Date: Wed, 30 Jul 2014 09:27:34 -0700 From: Mark
Re: [Frameworks] Films made on 15/70mm
Thanks for all the messages on here everyone. Unfortunately the theater here in town won't be able to do it, due to both the fact that IMAX Corp owns the projector (and the theater doesn't want to clean out emulsion bits, etc from the machine), and due to time constraints with the changeover, even if IMAX would be fine were fine with a dirty projector (obviously a couple emails back and forth). Alas. Great discovering a lot of your tips though. Hope this thread is useful for someone else who might want to take on such a project. On Thu, Jul 31, 2014 at 12:31 PM, Francisco Torres fjtorre...@gmail.com wrote: this makes imax look rinky dink... ''The production was shot with an innovative camera that places a 360° image on each single frame of 10-perf 70mm film. It was then projected onto a circular screen using a special projector mounted in the ceiling above the audience, engulfing viewers in a continuous, seamless large-format image.'' Mi Pais Vasco -Vasque Country National Pavillion Film- 1992 Expo,Sevilla http://brcweb.com/Projects/mi-pais-vasco-basque-national-pavilion/#.U9p8puNdWzk 2014-07-29 9:19 GMT-04:00 Scott Dorsey klu...@panix.com: I have never shot Imax but I have shot Todd-AO 70mm before. The thing about improvised 70mm stuff is that there are basically two 70mm standards. One has the perfs out at the edge of the film and is used for aerial camera work and the like, while the other has the perfs closer in so that there is room for sound tracks outside the perfs. It's traditional to shoot 65mm in camera, and then contact print the 65mm camera original to a 70mm print since the frame layout and perf positions are the same; the 70mm film just has a little extra on the outside for tracks. What this means is that you can't use existing aerial cameras or a Hasselblad with a 70mm back to shoot stop motion animation unless the camera or back has been modified to handle the narrower motion picture perfs. If you want to do hand drawn animation, though, it should not be too hard to get 65mm clear leader, draw on it, and have the lab print it to 70mm. FotoKem will still do 70mm printing and they might have some clear leader for you. Technicolor in Glendale might still. It would be great fun to try hand-drawing on the huge Imax frame. --scott ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks -- ekrem serdar austin, tx ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
[Frameworks] (no subject)
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