[Frameworks] Max MSP/Jitter
+1 for Vade's shaders. I haven't used them for anything useful but they are a great example of digital tools emulating analog processes. I use MAX for all of my work, although it only sometimes resembles analog processes. Here are 2 examples: In The Shape of Memory MAX algorithmically re-edited found Super8 footage based on image-similarity, so it begins with one image and then searches through all the other frames looking for something similar. Rinse and repeat. http://www.zachpoff.com/projects/the-shape-of-memory/ [1] In Video Silence MAX watches live TV and compiles the most silent moments, so the result is a constantly-updated loop of fleeting glances, awkward pauses and other interruptions of the sonic flow. http://www.zachpoff.com/projects/video-silence/ [2] -Zach Poff Links: -- [1] http://www.zachpoff.com/projects/the-shape-of-memory/ [2] http://www.zachpoff.com/projects/video-silence/ ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Fibonacci Sequence
Digital photo-animation ok, or do you prefer film? I used Fibonacci sequence as a control via frame counts for a digitally-composed animation a while back ... Jessica http://drawclose.com On Aug 5, 2014, at 6:45 PM, Mark Toscano fiddy...@gmail.com wrote: Roberta Friedman and Grahame Weinbren's excellent FUTURE PERFECT from 1978 uses a Fibonacci series (among others) as a basis for some precisely placed graphical forms marked onto (and conceptually relating to) the film's underlying photography. Mark Toscano On Aug 5, 2014, at 2:26 PM, c b bigmuddy2...@hotmail.com wrote: Greetings Frameworkers, I'm looking for experimental films that engage with the Fibonacci sequence - suggestions? Thanks! Cade ___ 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] Max MSP/Jitter
That ‘Video Silence’ piece is fascinating. Peter (Perth) From: Zach Poff z...@zachpoff.commailto:z...@zachpoff.com Reply-To: Experimental Film Discussion List frameworks@jonasmekasfilms.commailto:frameworks@jonasmekasfilms.com Date: Wednesday, 6 August 2014 9:39 pm To: frameworks@jonasmekasfilms.commailto:frameworks@jonasmekasfilms.com frameworks@jonasmekasfilms.commailto:frameworks@jonasmekasfilms.com Subject: [Frameworks] Max MSP/Jitter +1 for Vade's shaders. I haven't used them for anything useful but they are a great example of digital tools emulating analog processes. I use MAX for all of my work, although it only sometimes resembles analog processes. Here are 2 examples: In The Shape of Memory MAX algorithmically re-edited found Super8 footage based on image-similarity, so it begins with one image and then searches through all the other frames looking for something similar. Rinse and repeat. http://www.zachpoff.com/projects/the-shape-of-memory/ In Video Silence MAX watches live TV and compiles the most silent moments, so the result is a constantly-updated loop of fleeting glances, awkward pauses and other interruptions of the sonic flow. http://www.zachpoff.com/projects/video-silence/ -Zach Poff ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Max MSP/Jitter
I agree. I'd be interested btw to know if there's a subset of this list that's interested in sound design in particular. Could be practical or theoretical. Zach references Michel Chion on his site for example. Of interest to some http://www.nicolascollins.com/texts/callforsilence.pdf On Wed, Aug 6, 2014 at 10:47 AM, Peter Mudie peter.mu...@uwa.edu.au wrote: That ‘Video Silence’ piece is fascinating. Peter (Perth) From: Zach Poff z...@zachpoff.com Reply-To: Experimental Film Discussion List frameworks@jonasmekasfilms.com Date: Wednesday, 6 August 2014 9:39 pm To: frameworks@jonasmekasfilms.com frameworks@jonasmekasfilms.com Subject: [Frameworks] Max MSP/Jitter +1 for Vade's shaders. I haven't used them for anything useful but they are a great example of digital tools emulating analog processes. I use MAX for all of my work, although it only sometimes resembles analog processes. Here are 2 examples: In The Shape of Memory MAX algorithmically re-edited found Super8 footage based on image-similarity, so it begins with one image and then searches through all the other frames looking for something similar. Rinse and repeat. http://www.zachpoff.com/projects/the-shape-of-memory/ In Video Silence MAX watches live TV and compiles the most silent moments, so the result is a constantly-updated loop of fleeting glances, awkward pauses and other interruptions of the sonic flow. http://www.zachpoff.com/projects/video-silence/ -Zach Poff ___ 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 using the optical printer
How about Pat O'Neill's work? 'Water and power', for example... On Wed, August 6, 2014 6:06 pm, Caryn Cline wrote: Dear Frameworkers, If I were going to undertake a series of screenings showcasing optical printer techniques, what work would you recommend? What is the best work for understanding the cinematic potential in optical printing? Are there any texts that could be included? I'm asking for my own enlightenment and to take my own OP work to another level, but I might also try to put together a public screening at some point. Many thanks, as always, for your thoughts and advice. CC -- Caryn Cline Experimental Filmmaker Teacher vimeo.com/carynyc Co-producer cinematographer, *Acts of Witness* www.actsofwitness.com ___ 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] times for dektol and 7363
Hmm, very interesting. I am surprised by the processing at less than a minute! Thanks for this info. Best, Erin On Mon, Aug 4, 2014 at 2:13 PM, Beebe, Roger W. beebe...@osu.edu wrote: I’ve used Dektol with hi-con plenty, but my experience is that exposure times are VERY short, definitely less than 1 min with the chemistry at room temperature, even when I dilute the developer. (It slows considerably as the chemistry gets exhausted, of course.) I rate hi-con at ASA 12 when I shoot it, so that could make a difference in time to proper exposure. Like Christopher suggests, I do use a safelight with 7363 and just eyeball proper exposure, but I find it VERY easy to miss the mark end up with black film. (I also process as negative, since I don’t love the idea of dealing with scary bleach.) I’m certainly not a lab expert, but I do demos of this regularly enough with my students to feel pretty confident that my results are repeatable and that these very fast development times aren’t just a one-time quirk. Can anyone else confirm this? Roger On Aug 4, 2014, at 2:08 PM, Chris G spy...@gmail.com wrote: Hi Erin, 7363 is orthochromatic and is process until completion, so you can't *really* overprocess it. It is extremely forgiving in terms of time and temperature. I'd recommend processing under a safelight so you can watch the process. Using a paper developer such as Dektol will afford you a wider range of tones/greys over film developers and is a great way to play with the stock. D-19 is a high-contrast developer and will typically give you black or white with little in between. Usually I process short strands (40'/12m or less) of 7363 in trays or buckets with paper developer and a safelight until it looks done. Guessing around 5-6 minutes at 68F/20C. I've honestly never checked the time but have had a lot of success with this method. Cheers, Christopher Gorski On Aug 3, 2014, at 22:09, Erin Weisgerber eri...@gmail.com wrote: Hello all, I usually use D-19 to process 7363 to negative, but I'm thinking of trying out Dektol for this purpose. Would anyone be willing to share some guidelines processing times for 7363 processed to neg in Dektol? How would you describe the difference in look between '63 developed in D-19 compared to Dektol? Thanks so much for your help. Erin ___ 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 using the optical printer
Monkey's Birthday, David Larcher; - colour separation, superimposition, bi-packing etc. Slides, Annabel Nicholson; pulling film through the gate etc Film Sound, Andy Moss; short edits/loops (sound and picture), superimpositions (all at LUX, London.) Rob From: Caryn Cline carynycl...@gmail.commailto:carynycl...@gmail.com Reply-To: Experimental Film Discussion List frameworks@jonasmekasfilms.commailto:frameworks@jonasmekasfilms.com Date: Wed, 6 Aug 2014 09:06:12 -0700 To: Experimental Film Discussion List FrameWorks@jonasmekasfilms.commailto:FrameWorks@jonasmekasfilms.com Subject: [Frameworks] films using the optical printer Dear Frameworkers, If I were going to undertake a series of screenings showcasing optical printer techniques, what work would you recommend? What is the best work for understanding the cinematic potential in optical printing? Are there any texts that could be included? I'm asking for my own enlightenment and to take my own OP work to another level, but I might also try to put together a public screening at some point. Many thanks, as always, for your thoughts and advice. CC -- Caryn Cline Experimental Filmmaker Teacher vimeo.com/carynychttp://vimeo.com/carynyc Co-producer cinematographer, Acts of Witness www.actsofwitness.comhttp://www.actsofwitness.com/ [Falmouth University] http://www.falmouth.ac.uk/ [Follow us] [Facebook] https://www.facebook.com/falmouthuni [Twitter] http://twitter.com/falmouthuni [Youtube] http://www.youtube.com/falmouthuniversity [Pintrest] http://pinterest.com/falmouthuni 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. ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.commailto: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 using the optical printer
The entire oeuvre of Pat O¹Neill is essential, and very influential. We did a screening with a various of interesting optically printed films as part of Alternative Projections. http://www.alternativeprojections.com/screening-series/visions-memory-and-a- machine-optical-manipulations/ On 8/6/14 9:22 AM, Gawthrop, Rob rob.gawth...@falmouth.ac.uk wrote: Monkey's Birthday, David Larcher; - colour separation, superimposition, bi-packing etc. Slides, Annabel Nicholson; pulling film through the gate etc Film Sound, Andy Moss; short edits/loops (sound and picture), superimpositions (all at LUX, London.) Rob From: Caryn Cline carynycl...@gmail.com Reply-To: Experimental Film Discussion List frameworks@jonasmekasfilms.com Date: Wed, 6 Aug 2014 09:06:12 -0700 To: Experimental Film Discussion List FrameWorks@jonasmekasfilms.com Subject: [Frameworks] films using the optical printer Dear Frameworkers, If I were going to undertake a series of screenings showcasing optical printer techniques, what work would you recommend? What is the best work for understanding the cinematic potential in optical printing? Are there any texts that could be included? I'm asking for my own enlightenment and to take my own OP work to another level, but I might also try to put together a public screening at some point. Many thanks, as always, for your thoughts and advice. CC ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] films using the optical printer
In my humble opinion, Pat O'Neill is the master of optical printing. Water and Power is a great film, as are all of his. My personal favorites are Trouble in the Image and The Decay of Fiction. The latter is perhaps the greatest single example of optical printer work ever produced, but as far as I know it's not available. http://www.lookoutmountainstudios.com/store.php Other optical printing wizards are Adam Beckett, Paul Sharits, François Miron. --Aaron At 8/6/2014, you wrote: Dear Frameworkers, If I were going to undertake a series of screenings showcasing optical printer techniques, what work would you recommend?  What is the best work for understanding the cinematic potential in optical printing?  Are there any texts that could be included?  I'm asking for my own enlightenment and to take my own OP work to another level, but I might also try to put together a public screening at some point. Many thanks, as always, for your thoughts and advice. CC   -- Caryn Cline Experimental Filmmaker Teacher http://vimeo.com/carynycvimeo.com/carynyc Co-producer cinematographer, Acts of Witness http://www.actsofwitness.com/www.actsofwitness.com ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks -- Aaron F. Ross, artist and educator http://dr-yo.com http://digitalartsguild.com ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
[Frameworks] Magnasynch Moviola guitar amp
Reinventing the amplifier: https://www.youtube.com/watch?v=SqtlAeUTfHA 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 ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Magnasynch Moviola guitar amp
Great sound! I think I might have to give that a whirl Sent from my iPhone On Aug 6, 2014, at 11:57 AM, Info i...@oddballfilm.com wrote: Reinventing the amplifier: https://www.youtube.com/watch?v=SqtlAeUTfHA 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 ___ 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] Fibonacci Sequence
Yes I'm looking for a diversity of approaches to show my students! Thanks for all for the suggestions - Cade Sent from my iPhone On Aug 6, 2014, at 8:13 AM, J. Fenlon snowbloods.para...@gmail.com wrote: Digital photo-animation ok, or do you prefer film? I used Fibonacci sequence as a control via frame counts for a digitally-composed animation a while back ... Jessica http://drawclose.com On Aug 5, 2014, at 6:45 PM, Mark Toscano fiddy...@gmail.com wrote: Roberta Friedman and Grahame Weinbren's excellent FUTURE PERFECT from 1978 uses a Fibonacci series (among others) as a basis for some precisely placed graphical forms marked onto (and conceptually relating to) the film's underlying photography. Mark Toscano On Aug 5, 2014, at 2:26 PM, c b bigmuddy2...@hotmail.com wrote: Greetings Frameworkers, I'm looking for experimental films that engage with the Fibonacci sequence - suggestions? Thanks! Cade ___ 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 ___ 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 using the optical printer
Peter Tscherkassky On Aug 6, 2014, at 12:22 PM, c b bigmuddy2...@hotmail.com wrote: Martin Arnold's early films Sent from my iPhone On Aug 6, 2014, at 10:06 AM, Caryn Cline carynycl...@gmail.com wrote: Dear Frameworkers, If I were going to undertake a series of screenings showcasing optical printer techniques, what work would you recommend? What is the best work for understanding the cinematic potential in optical printing? Are there any texts that could be included? I'm asking for my own enlightenment and to take my own OP work to another level, but I might also try to put together a public screening at some point. Many thanks, as always, for your thoughts and advice. CC -- Caryn Cline Experimental Filmmaker Teacher vimeo.com/carynyc Co-producer cinematographer, Acts of Witness www.actsofwitness.com ___ 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 ___ 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 using the optical printer
Hi Carolyn, Below is the screening list from the last time I taught Optical Printing at Columbia College. I agree that Pat O'Neill is probably the greatest example of Optical Printing artistry, and include much of his work is available for purchase in DVD form. However, I would also stress that it was amazing to take the prints of his work and view them on rewinds with a light table so that students could really study how he created his looks. I love Water and Power too, and usually saved it until the last class in the semester. -Jason Halprin *DAILY SCHEDULE* *Class 01 – January 25th * Screening: *Pas de deux* (Norman McLaren, 13 min, 1968) *Class 02- February 1st* Screening: *Passage à l'acte* (Martin Arnold, 15 min., 1993) *Class 03- February 8th* Screening: *Piece Touche *(Martin Arnold, 15 min., 1989) *Zocalo* (Richard Myers, 15 min, 1972) *Spitting Image* (Paula Froehle, 3 min., 1992) *Class 04- February 15th* Screeing: *7362* (Pat O’Neill, 10 min, 1967) *Roseblood* (Sharon Couzin, 7 min., 1974) *Class 05- February 22nd* Screening: *Watersmith *(Will Hindle, 25 min, 1969) *Film Wipe Film* (Paul Glabicki, 32 min, 1984) *Class 06 * Screening: *Wild Gunman* (Craig Baldwin, 20 min, 1978) *Television Assassination* (Bruce Conner, 14 min, 1964/95) *Cosmic Ray* (Bruce Conner, 4 min, 1961) *Class 07- March 8th* Screening: *Alone, Life Wastes Andy Hardy* (Martin Arnold, 15 min, 1998) *Flicker: Unsteady Motion* (Paula Frohele, 7 min, 1995) *Class 08- March 15th* Screening: *Frame* (Ken Kobland, 10 min, 1976) *Vestibule* (Ken Kobland, 24 min, 1979) *Class 09- March 29th* Screening: *Chinese Fire Drill* (Will Hindle, 25 min, 1968) *Runs Good* (Pat O’Neill, 15 min, 1970) *Class 10- April 5th* Screening: *Elasticity* (Chick Strand, 25 min, 1976) *Babobilicons* (Dana Krummins, 18 min, 1982) *Class 11- April 12th* Screening: *Nocturne (*Phil Solomon, 10 min, 1980) *Remains to be Seen* (Phil Solomon, 17 min, 1989) *Class 12- April 19th* Screening: *The Idea* (Bill Knowland, 20 min, 1990) *Class 13- April 26th * Screening: *Milk and Honey* (Kate McCabe, 17 min, 2004) *Montessori Sword Fight *(Mary Beth Reed, 7 min, 2002) *Class 14- May 3rd* Screening: *Water and Power* (Pat O’Neill, 54 min, 1989) Jason Halprin jihalp...@gmail.com On Wed, Aug 6, 2014 at 12:10 PM, Gene Youngblood ato...@comcast.net wrote: I join Marcos and Adam in stressing the importance of Pat O’Neill here. Optical printing doesn’t get any better if by that term we mean an art form, an aesthetic practice, not a technique. Another artist from Pat’s generation known for his optical printing is Will Hindle *From:* Adam Hyman a...@lafilmforum.org *Sent:* Wednesday, August 06, 2014 10:57 AM *To:* Experimental Film Discussion List frameworks@jonasmekasfilms.com *Subject:* Re: [Frameworks] films using the optical printer The entire oeuvre of Pat O’Neill is essential, and very influential. We did a screening with a various of interesting optically printed films as part of Alternative Projections. http://www.alternativeprojections.com/screening-series/visions-memory-and-a-machine-optical-manipulations/ On 8/6/14 9:22 AM, Gawthrop, Rob rob.gawth...@falmouth.ac.uk wrote: Monkey's Birthday, David Larcher; - colour separation, superimposition, bi-packing etc. Slides, Annabel Nicholson; pulling film through the gate etc Film Sound, Andy Moss; short edits/loops (sound and picture), superimpositions (all at LUX, London.) Rob From: Caryn Cline carynycl...@gmail.com Reply-To: Experimental Film Discussion List frameworks@jonasmekasfilms.com Date: Wed, 6 Aug 2014 09:06:12 -0700 To: Experimental Film Discussion List FrameWorks@jonasmekasfilms.com Subject: [Frameworks] films using the optical printer Dear Frameworkers, If I were going to undertake a series of screenings showcasing optical printer techniques, what work would you recommend? What is the best work for understanding the cinematic potential in optical printing? Are there any texts that could be included? I'm asking for my own enlightenment and to take my own OP work to another level, but I might also try to put together a public screening at some point. Many thanks, as always, for your thoughts and advice. CC -- ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com
Re: [Frameworks] Fibonacci Sequence
beautiful/strange https://vimeo.com/7656765 a 3-minute animation made in a 72-hour filmmaking ‘challenge weekend’ in 2006. Fibonnacci in relationship to time. Thanks! Jessica http://www.drawclose.com On Aug 6, 2014, at 2:25 PM, c b bigmuddy2...@hotmail.com wrote: Yes I'm looking for a diversity of approaches to show my students! Thanks for all for the suggestions - Cade Sent from my iPhone On Aug 6, 2014, at 8:13 AM, J. Fenlon snowbloods.para...@gmail.com wrote: Digital photo-animation ok, or do you prefer film? I used Fibonacci sequence as a control via frame counts for a digitally-composed animation a while back ... Jessica http://drawclose.com On Aug 5, 2014, at 6:45 PM, Mark Toscano fiddy...@gmail.com wrote: Roberta Friedman and Grahame Weinbren's excellent FUTURE PERFECT from 1978 uses a Fibonacci series (among others) as a basis for some precisely placed graphical forms marked onto (and conceptually relating to) the film's underlying photography. Mark Toscano On Aug 5, 2014, at 2:26 PM, c b bigmuddy2...@hotmail.com wrote: Greetings Frameworkers, I'm looking for experimental films that engage with the Fibonacci sequence - suggestions? Thanks! Cade ___ 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 Mail Attachment.txt___ 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] Fibonacci Sequence
May interest you- Not a F. Seq. , but Frampton's Zorn's Lemma is based on a math thing Too bad I flunked math. 2014-08-06 15:28 GMT-04:00 Lady Snowblood snowbloods.para...@gmail.com: beautiful/strange https://vimeo.com/7656765 a 3-minute animation made in a 72-hour filmmaking ‘challenge weekend’ in 2006. Fibonnacci in relationship to time. Thanks! Jessica http://www.drawclose.com On Aug 6, 2014, at 2:25 PM, c b bigmuddy2...@hotmail.com wrote: Yes I'm looking for a diversity of approaches to show my students! Thanks for all for the suggestions - Cade Sent from my iPhone On Aug 6, 2014, at 8:13 AM, J. Fenlon snowbloods.para...@gmail.com wrote: Digital photo-animation ok, or do you prefer film? I used Fibonacci sequence as a control via frame counts for a digitally-composed animation a while back ... Jessica http://drawclose.com On Aug 5, 2014, at 6:45 PM, Mark Toscano fiddy...@gmail.com wrote: Roberta Friedman and Grahame Weinbren's excellent FUTURE PERFECT from 1978 uses a Fibonacci series (among others) as a basis for some precisely placed graphical forms marked onto (and conceptually relating to) the film's underlying photography. Mark Toscano On Aug 5, 2014, at 2:26 PM, c b bigmuddy2...@hotmail.com wrote: Greetings Frameworkers, I'm looking for experimental films that engage with the Fibonacci sequence - suggestions? Thanks! Cade ___ 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 Mail Attachment.txt___ 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] Fibonacci Sequence
These are not films, but the 16 Accretions linked to near the top of this page http://fredcamper.com/A/index1.html are series of photo-based digital prints that have cinema as one key inspiration. The use of Fibonacci numbers in them should be obvious. They do have some aspects of experimental films: no actors, no obvious narrative, no sound track Fred Camper Chicago On 8/5/2014 4:26 PM, c b wrote: Greetings Frameworkers, I'm looking for experimental films that engage with the Fibonacci sequence - suggestions? Thanks! Cade ___ 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] times for dektol and 7363
My experience with Dektol and 3378 (formerly 7378) still a high-con orthochromatic stock, but slightly different, was always around 90 seconds. I worked with both lomo spiral tanks, as well as spaghetti style in buckets, and strips wrapped around plexi glass in photo paper trays for the 90 seconds. When using Morse rewind tanks, I found I needed more time to get the film back and forth evenly, so I would work with dilutions that would allow more time for winding back and forth and which would be more forgiving. I don't have any of those dilutions handy here but I do know that I later on switched to D-19 for high contrast and would use that for 5 minutes diluted at a 1:5 working solution adc On 2014-08-04, at 3:13 PM, Beebe, Roger W. wrote: I’ve used Dektol with hi-con plenty, but my experience is that exposure times are VERY short, definitely less than 1 min with the chemistry at room temperature, even when I dilute the developer. (It slows considerably as the chemistry gets exhausted, of course.) I rate hi-con at ASA 12 when I shoot it, so that could make a difference in time to proper exposure. Like Christopher suggests, I do use a safelight with 7363 and just eyeball proper exposure, but I find it VERY easy to miss the mark end up with black film. (I also process as negative, since I don’t love the idea of dealing with scary bleach.) I’m certainly not a lab expert, but I do demos of this regularly enough with my students to feel pretty confident that my results are repeatable and that these very fast development times aren’t just a one-time quirk. Can anyone else confirm this? Roger On Aug 4, 2014, at 2:08 PM, Chris G spy...@gmail.com wrote: Hi Erin, 7363 is orthochromatic and is process until completion, so you can't *really* overprocess it. It is extremely forgiving in terms of time and temperature. I'd recommend processing under a safelight so you can watch the process. Using a paper developer such as Dektol will afford you a wider range of tones/greys over film developers and is a great way to play with the stock. D-19 is a high-contrast developer and will typically give you black or white with little in between. Usually I process short strands (40'/12m or less) of 7363 in trays or buckets with paper developer and a safelight until it looks done. Guessing around 5-6 minutes at 68F/20C. I've honestly never checked the time but have had a lot of success with this method. Cheers, Christopher Gorski On Aug 3, 2014, at 22:09, Erin Weisgerber eri...@gmail.com wrote: Hello all, I usually use D-19 to process 7363 to negative, but I'm thinking of trying out Dektol for this purpose. Would anyone be willing to share some guidelines processing times for 7363 processed to neg in Dektol? How would you describe the difference in look between '63 developed in D-19 compared to Dektol? Thanks so much for your help. Erin ___ 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 using the optical printer
Baillie's CASTRO STREET has no optical printing in it. It's all in-camera matting or A/B/C lab printing. Also, it periodically needs to be said that Pat O'Neill's 7362 has NO optical printing in it whatsoever. It's all contact printing and hand-processing. A lot of people tend to talk about Pat's optical work, then show 7362 as an example in both public screenings and classes (sorry Jason!). Pat's first foray into optical printing came approximately two years later in his installation piece SCREEN (1969), and then with RUNS GOOD, etc. after that. That said, Pat is, as has already been said, an unparalleled artist in the medium, and though optical printing was for him merely a technological tool for achieving quite advanced aesthetic ideals, he is unsurpassed in his artful and visionary use of the thing. Probably the most convenient and exemplary short film of his for explaining, demonstrating, or teaching optical printing work is SAUGUS SERIES, which in some ways functions as both a notebook of incredible visual ideas pretty much without precedent, and an unintentional compendium of highly diverse suggestive uses for the optical printer. But you pretty much can't go wrong with ANYTHING Pat's made. Mark Toscano On Wed, Aug 6, 2014 at 12:48 PM, Stefan Grabowski ste...@radonlake.com wrote: Bruce Baillie's 'Castro Street' has some really beautiful optical printing work. -- From: bigmuddy2...@hotmail.com Date: Wed, 6 Aug 2014 13:32:24 -0600 To: frameworks@jonasmekasfilms.com Subject: Re: [Frameworks] films using the optical printer This is a great list! Barbara Hammer would be a good addition Sent from my iPhone On Aug 6, 2014, at 1:29 PM, Jason Halprin jihalp...@gmail.com wrote: Hi Carolyn, Below is the screening list from the last time I taught Optical Printing at Columbia College. I agree that Pat O'Neill is probably the greatest example of Optical Printing artistry, and include much of his work is available for purchase in DVD form. However, I would also stress that it was amazing to take the prints of his work and view them on rewinds with a light table so that students could really study how he created his looks. I love Water and Power too, and usually saved it until the last class in the semester. -Jason Halprin *DAILY SCHEDULE* *Class 01 – January 25th * Screening: *Pas de deux* (Norman McLaren, 13 min, 1968) *Class 02- February 1st* Screening: *Passage à l'acte* (Martin Arnold, 15 min., 1993) *Class 03- February 8th* Screening: *Piece Touche *(Martin Arnold, 15 min., 1989) *Zocalo* (Richard Myers, 15 min, 1972) *Spitting Image* (Paula Froehle, 3 min., 1992) *Class 04- February 15th* Screeing: *7362* (Pat O’Neill, 10 min, 1967) *Roseblood* (Sharon Couzin, 7 min., 1974) *Class 05- February 22nd* Screening: *Watersmith *(Will Hindle, 25 min, 1969) *Film Wipe Film* (Paul Glabicki, 32 min, 1984) *Class 06 * Screening: *Wild Gunman* (Craig Baldwin, 20 min, 1978) *Television Assassination* (Bruce Conner, 14 min, 1964/95) *Cosmic Ray* (Bruce Conner, 4 min, 1961) *Class 07- March 8th* Screening: *Alone, Life Wastes Andy Hardy* (Martin Arnold, 15 min, 1998) *Flicker: Unsteady Motion* (Paula Frohele, 7 min, 1995) *Class 08- March 15th* Screening: *Frame* (Ken Kobland, 10 min, 1976) *Vestibule* (Ken Kobland, 24 min, 1979) *Class 09- March 29th* Screening: *Chinese Fire Drill* (Will Hindle, 25 min, 1968) *Runs Good* (Pat O’Neill, 15 min, 1970) *Class 10- April 5th* Screening: *Elasticity* (Chick Strand, 25 min, 1976) *Babobilicons* (Dana Krummins, 18 min, 1982) *Class 11- April 12th* Screening: *Nocturne (*Phil Solomon, 10 min, 1980) *Remains to be Seen* (Phil Solomon, 17 min, 1989) *Class 12- April 19th* Screening: *The Idea* (Bill Knowland, 20 min, 1990) *Class 13- April 26th * Screening: *Milk and Honey* (Kate McCabe, 17 min, 2004) *Montessori Sword Fight *(Mary Beth Reed, 7 min, 2002) *Class 14- May 3rd* Screening: *Water and Power* (Pat O’Neill, 54 min, 1989) Jason Halprin jihalp...@gmail.com On Wed, Aug 6, 2014 at 12:10 PM, Gene Youngblood ato...@comcast.net wrote: I join Marcos and Adam in stressing the importance of Pat O’Neill here. Optical printing doesn’t get any better if by that term we mean an art form, an aesthetic practice, not a technique. Another artist from Pat’s generation known for his optical printing is Will Hindle *From:* Adam Hyman a...@lafilmforum.org *Sent:* Wednesday, August 06, 2014 10:57 AM *To:* Experimental Film Discussion List
Re: [Frameworks] Magnasynch Moviola guitar amp
Shhh, don't tell everyone. It's one of the best poorly-kept secrets of film/guitar tube electronics nerds. The Moviola/Magnasync URS is basically the same amp circuit as a tweed Fender Champ -- 12AX7 + 6V6. There are numerous online tutorials to convert the input for a guitar level signal. On the other hand, anything we can do to inflate the value of obsolete film equipment may be a good thing... On Wed, 6 Aug 2014 11:57:28 -0700, Info i...@oddballfilm.com wrote: Reinventing the amplifier: https://www.youtube.com/watch?v=SqtlAeUTfHA 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 ___ 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] Magnasynch Moviola guitar amp
This has me thinking about other guitar applications of obsolete film tech. IR optical pickups are now available, but has anyone tested old 16mm optical heads with strings? Is the response rate fast enough for a string's vibration? I envision a frankenguitar of unplayable proportions and unbearable sounds. My kind of project. On Wed, 06 Aug 2014 18:31:41 -0700, todd eacrett hell...@agit-prop.com wrote: Shhh, don't tell everyone. It's one of the best poorly-kept secrets of film/guitar tube electronics nerds. The Moviola/Magnasync URS is basically the same amp circuit as a tweed Fender Champ -- 12AX7 + 6V6. There are numerous online tutorials to convert the input for a guitar level signal. On the other hand, anything we can do to inflate the value of obsolete film equipment may be a good thing... On Wed, 6 Aug 2014 11:57:28 -0700, Info i...@oddballfilm.com wrote: Reinventing the amplifier: https://www.youtube.com/watch?v=SqtlAeUTfHA 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 ___ 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 using the optical printer
In the same spirit as Mark's post, I wanted to note that Peter Tscherkassky's Cinemascope trilogy is actually contact printed in short stretches (much of it using a laser pointer) rather than optically printed. He must surely have used an optical printer in some of his films (maybe Happy End, for ex.), but since the previous poster only dropped his name without specific films, I thought it was a point worth clarifying... R. From: FrameWorks [frameworks-boun...@jonasmekasfilms.com] on behalf of Mark Toscano [fiddy...@gmail.com] Sent: Wednesday, August 06, 2014 8:04 PM To: Experimental Film Discussion List Subject: Re: [Frameworks] films using the optical printer Baillie's CASTRO STREET has no optical printing in it. It's all in-camera matting or A/B/C lab printing. Also, it periodically needs to be said that Pat O'Neill's 7362 has NO optical printing in it whatsoever. It's all contact printing and hand-processing. A lot of people tend to talk about Pat's optical work, then show 7362 as an example in both public screenings and classes (sorry Jason!). Pat's first foray into optical printing came approximately two years later in his installation piece SCREEN (1969), and then with RUNS GOOD, etc. after that. That said, Pat is, as has already been said, an unparalleled artist in the medium, and though optical printing was for him merely a technological tool for achieving quite advanced aesthetic ideals, he is unsurpassed in his artful and visionary use of the thing. Probably the most convenient and exemplary short film of his for explaining, demonstrating, or teaching optical printing work is SAUGUS SERIES, which in some ways functions as both a notebook of incredible visual ideas pretty much without precedent, and an unintentional compendium of highly diverse suggestive uses for the optical printer. But you pretty much can't go wrong with ANYTHING Pat's made. Mark Toscano On Wed, Aug 6, 2014 at 12:48 PM, Stefan Grabowski ste...@radonlake.commailto:ste...@radonlake.com wrote: Bruce Baillie's 'Castro Street' has some really beautiful optical printing work. From: bigmuddy2...@hotmail.commailto:bigmuddy2...@hotmail.com Date: Wed, 6 Aug 2014 13:32:24 -0600 To: frameworks@jonasmekasfilms.commailto:frameworks@jonasmekasfilms.com Subject: Re: [Frameworks] films using the optical printer This is a great list! Barbara Hammer would be a good addition Sent from my iPhone On Aug 6, 2014, at 1:29 PM, Jason Halprin jihalp...@gmail.commailto:jihalp...@gmail.com wrote: Hi Carolyn, Below is the screening list from the last time I taught Optical Printing at Columbia College. I agree that Pat O'Neill is probably the greatest example of Optical Printing artistry, and include much of his work is available for purchase in DVD form. However, I would also stress that it was amazing to take the prints of his work and view them on rewinds with a light table so that students could really study how he created his looks. I love Water and Power too, and usually saved it until the last class in the semester. -Jason Halprin DAILY SCHEDULE Class 01 – January 25th Screening: Pas de deux (Norman McLaren, 13 min, 1968) Class 02- February 1st Screening: Passage à l'acte (Martin Arnold, 15 min., 1993) Class 03- February 8th Screening: Piece Touche (Martin Arnold, 15 min., 1989) Zocalo (Richard Myers, 15 min, 1972) Spitting Image (Paula Froehle, 3 min., 1992) Class 04- February 15th Screeing: 7362 (Pat O’Neill, 10 min, 1967) Roseblood (Sharon Couzin, 7 min., 1974) Class 05- February 22nd Screening: Watersmith (Will Hindle, 25 min, 1969) Film Wipe Film (Paul Glabicki, 32 min, 1984) Class 06 Screening: Wild Gunman (Craig Baldwin, 20 min, 1978) Television Assassination (Bruce Conner, 14 min, 1964/95) Cosmic Ray (Bruce Conner, 4 min, 1961) Class 07- March 8th Screening: Alone, Life Wastes Andy Hardy (Martin Arnold, 15 min, 1998) Flicker: Unsteady Motion (Paula Frohele, 7 min, 1995) Class 08- March 15th Screening: Frame (Ken Kobland, 10 min, 1976) Vestibule (Ken Kobland, 24 min, 1979) Class 09- March 29th Screening: Chinese Fire Drill (Will Hindle, 25 min, 1968) Runs Good (Pat O’Neill, 15 min, 1970) Class 10- April 5th Screening: Elasticity (Chick Strand, 25 min, 1976) Babobilicons (Dana Krummins, 18 min, 1982) Class 11- April 12th Screening: Nocturne (Phil Solomon, 10 min, 1980) Remains to be Seen (Phil Solomon, 17 min, 1989) Class 12- April 19th Screening: The Idea (Bill Knowland, 20 min, 1990) Class 13- April 26th Screening: Milk and Honey
