Re: [Frameworks] 16mm prints turned pink

[Robert Withers]

Dear Frameworkers,
Thanks for all the interesting responses to this issue. There is such a wealth 
of knowledge here!

Glad to know there are some digital restoration possibilities, though sounds 
like something that should be done sooner before further shifts happen. Aii, 
the tension between preserving the old and making the new. 

I wonder how Kodak color prints and negatives of today will behave? Were they 
improved after the 70's?
Once converted into digital, we're into the ever-shifting technology stream 
that still seems to have no practical archival process that won't require 
constant updating. 

I think of the B/W paper prints in the Library of Congress that are still 
preserving films of the early 1900s. Illuminated manuscripts on vellum have 
held up pretty well for 600 years, if limited to beautiful blue, red, and gold. 
I wonder if the Technicolor process with three B/W separation negatives still 
exists in China, where Technicolor sold it?

Or should we think of movies as an essentially ephemeral art, like dance, with 
a life span similar to our own?

Cheers,
Robert Withers



WithersWorks.com



On Dec 19, 2015, at 7:00 AM, frameworks-requ...@jonasmekasfilms.com wrote:

> 
> 
> From: cbifi...@gmail.com
> Subject: Re: [Frameworks] 16mm prints turned pink
> Date: December 18, 2015 2:17:53 PM EST
> To: Dominic Angerame , Experimental Film 
> Discussion List 
> 
> 
> I did a pretty good job of colour correcting a red print by shooting it with 
> a video camera set to auto colour balance. The shutter could be adjusted in 
> 10ths to eliminate flicker.  It brought it right back to where it should be 
> colour-wise and was just slightly more muted than the original likely was.  
> 
> Sent from my BlackBerry 10 smartphone on the Rogers network.
> From: Dominic Angerame
> Sent: Friday, December 18, 2015 10:23
> To: Experimental Film Discussion List
> Reply To: Experimental Film Discussion List
> Subject: Re: [Frameworks] 16mm prints turned pink
> 
> Alas all of this is true. A Canyon Cinema I found most of the color prints 
> made in the 70's had turned red. This even happens when the film is never 
> projected. When I worked at the Encyclopedia Britannica in the early 70's 
> most of their prints had turned red. I am inspecting the 16mm film collection 
> at the SF ARt Institute and am finding the same situation with some prints 
> made during the 70's and some 1980 print.
> 
> 
> On Thu, Dec 17, 2015 at 8:13 PM, Jeff Kreines  wrote:
> Eastmancolor was very bad in terms of magenta fading.
> 
> I’ve seem excellent work scanning faded prints and restoring the color (using 
> lots of nodes in Resolve) and doing filmouts (16mm 5K, or 35mm) by VFS, now 
> merged with Colorlab.
> 
> The trick is to have at least a tiny bit of the missing colors present in the 
> scan, to give the software something that it can work with.
> 
> > On Dec 17, 2015, at 9:46 PM, Scott Dorsey  wrote:
> >
> > I don't remember whether it had to be slightly acid or slightly basic, and
> > it was _just_ a thing with the Agfa/Ansco chemistry which is very different
> > (and can be a lot more stable than) the modern Eastman chemistry.  I think
> > there is a discussion of it in Mees' book, though.
> > --scott
> > ___
> > FrameWorks mailing list
> > FrameWorks@jonasmekasfilms.com
> > https://mailman-mail5.webfaction.com/listinfo/frameworks
> 
> Jeff Kreines
> Kinetta
> j...@kinetta.com
> kinetta.com
> 

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Re: [Frameworks] 16mm prints turned pink

[cbifilms]

  Recent Kodak stocks do hold up much better, as do technocolor prints‎. In the 70's, 80's and 90's, especially during the explosion of the cineplex, cheaper prints were made to only last for the 6-8 weeks of a run.  Sent from my BlackBerry 10 smartphone on the Rogers network.From: Robert WithersSent: Saturday, December 19, 2015 13:54To: frameworks@jonasmekasfilms.comReply To: Experimental Film Discussion ListSubject: Re: [Frameworks] 16mm prints turned pinkDear Frameworkers,Thanks for all the interesting responses to this issue. There is such a wealth of knowledge here!Glad to know there are some digital restoration possibilities, though sounds like something that should be done sooner before further shifts happen. Aii, the tension between preserving the old and making the new. I wonder how Kodak color prints and negatives of today will behave? Were they improved after the 70's?Once converted into digital, we're into the ever-shifting technology stream that still seems to have no practical archival process that won't require constant updating. I think of the B/W paper prints in the Library of Congress that are still preserving films of the early 1900s. Illuminated manuscripts on vellum have held up pretty well for 600 years, if limited to beautiful blue, red, and gold. I wonder if the Technicolor process with three B/W separation negatives still exists in China, where Technicolor sold it?Or should we think of movies as an essentially ephemeral art, like dance, with a life span similar to our own?Cheers,Robert WithersWithersWorks.com



On Dec 19, 2015, at 7:00 AM, frameworks-requ...@jonasmekasfilms.com wrote:From: cbifi...@gmail.comSubject: Re: [Frameworks] 16mm prints turned pinkDate: December 18, 2015 2:17:53 PM ESTTo: Dominic Angerame , Experimental Film Discussion List I did a pretty good job of colour correcting a red print by shooting it with a video camera set to auto colour balance. The shutter could be adjusted in 10ths to eliminate flicker.  It brought it right back to where it should be colour-wise and was just slightly more muted than the original likely was.  Sent from my BlackBerry 10 smartphone on the Rogers network.From: Dominic AngerameSent: Friday, December 18, 2015 10:23To: Experimental Film Discussion ListReply To: Experimental Film Discussion ListSubject: Re: [Frameworks] 16mm prints turned pinkAlas all of this is true. A Canyon Cinema I found most of the color prints made in the 70's had turned red. This even happens when the film is never projected. When I worked at the Encyclopedia Britannica in the early 70's most of their prints had turned red. I am inspecting the 16mm film collection at the SF ARt Institute and am finding the same situation with some prints made during the 70's and some 1980 print.On Thu, Dec 17, 2015 at 8:13 PM, Jeff Kreines  wrote:Eastmancolor was very bad in terms of magenta fading.I’ve seem excellent work scanning faded prints and restoring the color (using lots of nodes in Resolve) and doing filmouts (16mm 5K, or 35mm) by VFS, now merged with Colorlab.The trick is to have at least a tiny bit of the missing colors present in the scan, to give the software something that it can work with.> On Dec 17, 2015, at 9:46 PM, Scott Dorsey  wrote:>> I don't remember whether it had to be slightly acid or slightly basic, and> it was _just_ a thing with the Agfa/Ansco chemistry which is very different> (and can be a lot more stable than) the modern Eastman chemistry.  I think> there is a discussion of it in Mees' book, though.> --scott> ___> FrameWorks mailing list> FrameWorks@jonasmekasfilms.com> https://mailman-mail5.webfaction.com/listinfo/frameworksJeff KreinesKinettaj...@kinetta.comkinetta.com
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Re: [Frameworks] 16mm prints turned pink

[Ed Inman]

Eastman LPP color prints from 1983 forward have generally held good color, though I've seen a few go to vinegar (which I suspect often has much to do with poor processing).The cyan or blues typically fade first in the older Eastman stocks and in many cases the yellow, magenta, and overall contrast will hold up for many years longer. But I've also seen SP prints fade mostly to brown and Fuji prints fade mostly to purple. At least one 16mm print I have has faded almost entirely to yellow and is almost invisible on the screen unless projected through a violet filter.Some more general information is here:http://www.paulivester.com/films/filmstock/guide.htmEd-Original Message-
From: Robert Withers 
I wonder how Kodak color prints and negatives of today will behave? Were they improved after the 70's?
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[Frameworks] 35mm/16mm raw stock for sale.

[Jesse Andrewartha]

Hi all,

I have some raw stock short ends and recans for sale that I will be listing in 
the coming days. Ranging from Vision3 to Fuji Eterna, the film had been stored 
in a cool, dark room for most of its time in storage. I have shot some of the 
Vision3 stock and had great results (see https://vimeo.com/147604412), but I 
haven't tested every stock so all stock all film sales are as-is with no 
returns and are priced accordingly.  All prices are in USD:

Kodak 5219 Vision3 500T: 
Recan: 10 cents per foot
Short ends: 5 cents per foot

Fuji Eterna and Eterna vivid:
5 cents per foot

Kodak 5218 Vision2:
4 cents per foot

Older Kodak (VISION, EXR):
2.5 cents per foot

I'd love to keep it all, but I have an upcoming shoot I need to finance, so I'm 
selling what I can. Here's the initial offering:

Kodak 5219 Vision3 500T
#1. 250ft se $12.50
#2. 370ft se $18.50
#3. 400ft recan $40
#4. 400ft recan $40
#5. 400ft recan $40
#6. 400ft recan $40
#7. 400ft recan $40
#8. 240ft se $12
#9. 550ft se $27.50

16mm 7219 Vision3 500T
#10. 400ft recan $40
#11. 400ft recan $40

Fuji 8553 Eterna 250T
#12. 800ft $40
#13. 740ft $37

Fuji 8573 Eterna 500T
#14. 550ft $27.5

Kodak 5218 Vision2 500T 
#15. 220ft $8.80
#16. 220ft $8.80
#17. 240ft $9.60
#18. 200ft $8
#19. 180ft $7.20
#20. 200ft $8
#21. 200ft $8
#22. 220ft $8.80
#23. 220ft $8.80
#24. 210ft $8.40
#25. 200ft $8
#26. 220ft $8.80
#27. 220ft $8.80
#28. 230ft $9.20
#29. 230ft $9.20
#30. 220ft $8.80
#31. 200ft $8
#32. 200ft $8
#33. 180ft $7.20
#34. 220ft $8.80
#35. 160ft $6.40
#36. 260ft $10.40
#37. 280ft $11.20
#38. 320ft $12.80
#39. 210ft $8.40
#40. 190ft $7.60
#41. 200ft $8
#42. 270ft $10.80

Cheers!

-Jesse-







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[Frameworks] BFI Southbank Jean-Luc Godard retrospective and events

[M.Witt]

Some frameworkers might be interested in this complete retrospective of the 
films and videos of Jean-Luc Godard that Michael Temple and I have curated in 
association with the British Film Institute. It runs at BFI Southbank in London 
from 1 January to 16 March 2016: 
https://whatson.bfi.org.uk/Online/default.asp?BOparam::WScontent::loadArticle::permalink=jeanlucgodard::WScontent::loadArticle::context_id=

The extensive screening programme will be accompanied by the following talks 
and events:

WED 6 JAN 18.10 NFT1: Illustrated conversation about Godard between Laura 
Mulvey and Michael Witt

TUE 12 JAN 20.20 BLUE ROOM: Philosophical Screens: LE MEPRIS (CONTEMPT, 1963) 
and Godard’s Philosophical Cinema, with Lucy Bolton, William Brown and John 
Mullarkey

WED 13 JAN 18:00 NFT1: Introduction by Chris Darke to a screening of ALPHAVILLE 
(1965)

WED 13 JAN 20.30 BFI REUBEN LIBRARY: Talk by Richard Martin on Godard as 
Architect

SAT 16 JAN 15.10 NFT1: Screening of BANDE A PART (1964) + Q with Anna Karina

SAT 16 JAN 17.50 NFT1: Introduction by Anna Karina to a screening of LE MEPRIS 
(CONTEMPT, 1963)

SAT 16 JAN 20.40 NFT1: Screening of VIVRE SA VIE (MY LIFE TO LIVE, 1962) + Q 
with Anna Karina

WED 10 FEB 18.20 NFT3: Talk by Nicole Brenez on Godard as Experimental Filmmaker

WED 10 FEB 20.30 NFT3: Introduction by Nicole Brenez to a screening of NUMERO 
DEUX (NUMBER TWO, 1975)

FRI 19 FEB 18.20 NFT2: Introduction by Michael Witt to a screening of SIX FOIS 
DEUX (SUR ET SOUS LA COMMUNICATION) (SIX TIMES TWO (ON AND UNDER COMMUNICATION, 
1976))

MON 22 FEB 18.30 BFI REUBEN LIBRARY: Talk by Albertine Fox on Godard as Sound 
Artist

MON 22 FEB 20.30 NFT3: Introduction by Albertine Fox to a screening of KING 
LEAR (1987) and MEETING WOODY ALLEN (1986)

WED 24 FEB 20.20 NFT3: Introduction by Michael Witt to a screening of the 
compilation film SAUVE LA VIE (QUI PEUT) (1981)

THU 25 FEB 20.30 NFT3: Introduction by Michael Temple to a programme of shorts 
showcasing how Godard has responded to commercial commissions (e.g. ON S’EST 
TOUS DEFILE (1987), PUISSANCE DE LA PAROLE (1988) and LE RAPPORT DARTY (1989))

SAT 27 FEB BIRKBECK INSTITUTE FOR THE MOVING IMAGE: Day of screenings of rare 
materials by or featuring Godard, including a programme of the trailers that 
Godard has made for his own films

SUN 28 FEB 13.45 NFT2: Introduction by Michael Witt to a screening of FRANCE 
TOUR DETOUR DEUX ENFANTS (FRANCE TOUR DETOUR TWO CHILDREN, 1979)

WED 2 MARCH 20.40 BFI REUBEN LIBRARY: Talk by Michael Witt on Godard as Cinema 
Historian

MON 7 MARCH 20.30 BLUE ROOM: Philosophical Screens: Godard in 3D, with Lucy 
Bolton, William Brown and John Mullarkey

TUE 8 MARCH 18.10 NFT3: Introduction by Colin MacCabe to a screening of two 
films by Godard and Anne-Marie Miéville that he co-produced: DEUX FOIS 
CINQUANTE ANS DE CINEMA FRANCAIS (TWO TIMES 50 YEARS OF FRENCH CINEMA, 1995) 
and THE OLD PLACE: SMALL NOTES REGARDING THE ARTS AT FALL OF THE TWENTIETH 
CENTURY (1998)

MON 14 MARCH 18.30 BFI REUBEN LIBRARY: Talk by Michael Temple on Godard as 
Essayist

In addition, Ginette Vincendeau and her colleagues from King’s College London 
are running a nine-week course entitled ‘Jean-Luc Godard: Film Language, 
Narrative, Politics’ from 14 January to 10 March, 18.30-20.30, in the Studio 
cinema at BFI Southbank

It is possible that further events will be added to the March programme. Please 
keep an eye on the BFI website for updates.

Best wishes,

Michael Witt


Michael Witt
Professor of Cinema
Co-Director, Centre for Research in Film and Audiovisual Cultures (CRFAC)
Department of Media, Culture and Language
University of Roehampton  |  London  |  SW15 5SL
http://www.roehampton.ac.uk/staff/Michael-Witt/




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[Frameworks] Angular Vol. 01

[Albert Alcoz]

Angular | Cine experimental y videocreación | Experimental Cinema and Artists' 
Video
Newsletter | 18 de diciembre de 2015 | English version below
Estimados amigos,
Nos alegra poder anunciaros que el primer volumen de Angular está disponible 
a la venta, a través de nuestra página web, en edición limitada de 150 
ejemplares. 
Contiene un DVD con 13 películas y un libro de 82 páginas en castellano e 
inglés 
con reseñas de los trabajos escogidos, y una entrevista a Marcos Ortega, 
director 
de Experimental Cinema. Esperamos que os guste. ¡Gracias!
Dear friends,

We are happy to announce that Angular's Volume 01 is available for sale on our 
website 
in a limited edition of 150 copies. The set consists of: a DVD with 13 films, 
and a 82-page 
book in both Spanish and English, which includes analytical texts by our 
contributors 
on the selected works, plus an interview with Marcos Ortega, director of the 
website 
Experimental Cinema. We hope you will like it! Thanks!

Albert Alcoz y Alberto Cabrera Bernal

Angular | Angular: Cine experimental y videocreación


|   |
|   |  |   |   |   |   |   |
| Angular: Cine experimental y videocreaciónDedicada a la difusión del cine 
experimental y de la videocreación recientes, Angular es una editora española 
en DVD, autofinanciada e independiente, que funciona ... |
|  |
| Ver en www.angularfilms.com | Vista previa por Yahoo |
|  |
|   |


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