Re: [Frameworks] Digital hd projection

[Francisco Torres]

and now we have things as these...


''The iRulu BL20 is a low-cost projector 1080p/HD projector that supports a
projection distance up to six meters, dual built-in speakers, and a screen
size up to 200 inches. Retailing for about $165 USD, this isn't a high-end
projector but is rather decent for the price. Here's a quick write-up about
my experience with this budget projector.''
http://www.phoronix.com/scan.php?page=article=irulu-b20-projector=1

2016-12-05 20:38 GMT-04:00 Scott Dorsey :

> Yes... if you have a bright room (any more than 3 or 4 fl off the screen
> with
> the projector off), consider using a grey screen for projection.  Yes, it
> requires a brighter projector to get the same brightness level to the eye,
> but the black level is improved because the brightness from the room
> illumination is reduced.
> --scott
>
>
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Re: [Frameworks] Digital hd projection

[Scott Dorsey]

Yes... if you have a bright room (any more than 3 or 4 fl off the screen with
the projector off), consider using a grey screen for projection.  Yes, it 
requires a brighter projector to get the same brightness level to the eye,
but the black level is improved because the brightness from the room
illumination is reduced.
--scott


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Re: [Frameworks] Digital hd projection

[Shumona Goel]

Thanks for your emails and suggestions.

Your point about ambient light is well taken. Our installation is in an old
warehouse.

If you have further suggestions, kindly share.

Thanks!



On Dec 6, 2016 1:50 AM, "Dave Tetzlaff"  wrote:

> > If you're seeing lines on the edges of the frame, I'd wonder also if the
> blacks aren't really very black at all.
>
> Careful there, though, Scott. You’re not going to get black blacks out of
> any brand new ‘affordable’ video projector.
>
> I have an Epson VS335W, which I bought in 2014 (~$525 at the time), which
> I’d guess would be similar to what Shumona’s host have provided for her
> installation. There’s no condition where a black projected frame does NOT
> appear gray in comparison to the ‘black’ of the rest of the screen in a
> darkened room. That’s just how most video projection is. That said, I’m
> quite happy with the image overall, considering what it cost. And I’ve
> never seen it produce those disconcerting edge color effects Shumona
> describes.
>
> As you’d expect from a projector in this range, the VS335W has menu
> controls for Brightness, Contrast, Saturation, and Tint. The Brightness
> control, more or less Black Level, is basically useless. Boost it all, the
> image washes out. Drop it at all, it just all gets dark. What does affect
> apparent brightness is the Contrast setting (sometimes labeled ‘Picture’ on
> other devices). If the image seems ‘weak’ that’s what gets cranked up. It’s
> a ‘usable’ control though, in that small changes aren’t too dramatic, and
> different folks could diasgree on what setting looks best for any given
> material and environment.
>
> I wouldn’t at all be surprised if any projector Shumona might obtain
> produces some white blow out at any setting usable in an installation
> environment. But it shouldn’t be too much: the sort of thing that would be
> obvious and distracting to the museum/gallery public. They’re not image
> purists, and they’re probably fine with things that would make you or me
> cringe or scream. Video installations in museums are in dark projection
> rooms sometimes, but other times out in more open gallery space which, even
> made as dim as possible, still has a fair amount of ambient light. Even for
> shows of celebrated artists at prestige museums — where you know they have
> the budget for higher end gear — I’ve never seen projection in that kind of
> installation I considered any better than ersatz for any work that was
> intended for conventional projection (as opposed to something more
> ‘sculptural’, integrated with other physical elements of the installation).
> I mean, i might find it too painfully to even look at, but the other
> visitors would be stopping, watching, commenting on the content…
>
> So, “it is what it is”, and that’s probably okay, IF the projector isn’t
> total garbage, and IF it’s working properly, and IF the settings are
> tweaked for the best, considering the particulars...
>
>
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Re: [Frameworks] Digital hd projection

[Dave Tetzlaff]

> If you're seeing lines on the edges of the frame, I'd wonder also if the 
> blacks aren't really very black at all.

Careful there, though, Scott. You’re not going to get black blacks out of any 
brand new ‘affordable’ video projector. 

I have an Epson VS335W, which I bought in 2014 (~$525 at the time), which I’d 
guess would be similar to what Shumona’s host have provided for her 
installation. There’s no condition where a black projected frame does NOT 
appear gray in comparison to the ‘black’ of the rest of the screen in a 
darkened room. That’s just how most video projection is. That said, I’m quite 
happy with the image overall, considering what it cost. And I’ve never seen it 
produce those disconcerting edge color effects Shumona describes.

As you’d expect from a projector in this range, the VS335W has menu controls 
for Brightness, Contrast, Saturation, and Tint. The Brightness control, more or 
less Black Level, is basically useless. Boost it all, the image washes out. 
Drop it at all, it just all gets dark. What does affect apparent brightness is 
the Contrast setting (sometimes labeled ‘Picture’ on other devices). If the 
image seems ‘weak’ that’s what gets cranked up. It’s a ‘usable’ control though, 
in that small changes aren’t too dramatic, and different folks could diasgree 
on what setting looks best for any given material and environment. 

I wouldn’t at all be surprised if any projector Shumona might obtain produces 
some white blow out at any setting usable in an installation environment. But 
it shouldn’t be too much: the sort of thing that would be obvious and 
distracting to the museum/gallery public. They’re not image purists, and 
they’re probably fine with things that would make you or me cringe or scream. 
Video installations in museums are in dark projection rooms sometimes, but 
other times out in more open gallery space which, even made as dim as possible, 
still has a fair amount of ambient light. Even for shows of celebrated artists 
at prestige museums — where you know they have the budget for higher end gear — 
I’ve never seen projection in that kind of installation I considered any better 
than ersatz for any work that was intended for conventional projection (as 
opposed to something more ‘sculptural’, integrated with other physical elements 
of the installation). I mean, i might find it too painfully to even look at, 
but the other visitors would be stopping, watching, commenting on the content… 

So, “it is what it is”, and that’s probably okay, IF the projector isn’t total 
garbage, and IF it’s working properly, and IF the settings are tweaked for the 
best, considering the particulars...


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[Frameworks] Fwd: Considering Marjorie Keller: Saturday Dec 10

[Stephen Anker]

Hi FameWorks members:
If you're in LA please come to the program described below,* Considering
Marjorie: Intimate Family Portrayals, *this Saturday, December 10, in
Pasadena.
Best, Steve Anker
Closing Reception and Film Screening at LAND
Considering Marjorie Keller

* Los Angeles Nomadic Division and Los Angeles Filmforum present *

* INTIMATE OBSERVER: HOME-MOVIE FAMILY PORTRAYALS *
* BY MARJORIE KELLER *
* At the Gamble House and Neighborhood Unitarian Church, Pasadena *
*ON THE VERGE OF AN IMAGE:*
*CONSIDERING MARJORIE KELLER*
*CLOSING RECEPTION & FILM SCREENING*
*Saturday, December 10, 2016*

4-6pm: Exhibition Open House
4-7pm: Closing Reception
7-8:30pm: Film Screening




*
http://nomadicdivision.org/exhibition/on-the-verge-of-an-image-considering-marjorie--keller/

When: Saturday December 10, 2016, 4:00-7:00 pm *
* - Cocktail Reception on the Gamble House terrace with an Open House from
4:00-6:00 pm **7:00-8:30 pm*








* - Screening at the Neighborhood Church Sanctuary Where: The Gamble House4
Westmoreland Place, Pasadena CA 91103 The Neighborhood Church301 Orange
Grove Blvd, Pasadena, CA 9110 (They are next door to each other) Tickets:
Free *
Please clink on this link to RSVP:
https://www.eventbrite.com/e/on-the-verge-of-an-image-consid
ering-marjorie-keller-closing-event-registration-29808018586

Please join LAND for the final open house and closing reception for *On the
Verge of an Image: Considering Marjorie Keller *at the historic Gamble
House in Pasadena.

In addition, LAND and Los Angeles Filmforum will present a screening
of six of Keller's films in their original 8mm or 16mm format,
entitled *Intimate
Observer: Home-Movie Family Portrayals by Marjorie Keller, *curated by Steve
Anker, CalArts Film/Video Faculty and Co-Curator of Film at REDCAT.


*Saturday, December 10  *
4 - 6pm Exhibition Open House
4 - 7pm Closing Reception
7 - 8:30pm Film Screening
*On the Verge of an Image: Considering Marjorie Keller*

Exhibition Open House & Closing Reception will be held at
The Gamble House
University of Southern California, School of Architecture
4 Westmoreland Place
Pasadena, CA 91103

*Intimate Observer: Home-Movie Family Portrayals by Marjorie Keller *film
screening will be held at
Neighborhood Unitarian Universalist Church
301 N Orange Grove Blvd
Pasadena, CA 91103
(next door to the Gamble House)

*On the Verge of an Image: Considering Marjorie Keller *is a group
exhibition centered on the themes present in the work of under-recognized
avant-garde filmmaker Marjorie Keller, co-curated by Los Angeles-based
artists Alika Cooper and Anna Mayer. The exhibition will explore links
between motifs and strategies emerging from Keller's films. Participating
artists include renowned international practitioners from Keller's
generation, as well as younger artists, along with a selection of Keller's
work. Participating artists include Chantal Akerman, Shiva Aliabadi,
Vanessa Beecroft, Ashley Carter, Alika Cooper, Cheryl Donegan, VALIE
EXPORT, Naomi Fisher, Nan Goldin, Trulee Grace Hall, Donna Huanca,
Kartemquin Films, Marjorie Keller, Josh Mannis, Anna Mayer, Paul Pescador,
Vincent Ramos, Carolee Schneemann, and Jennifer West.

"In her brief life, Marjorie Keller made nearly thirty films in her own
distinctive cinematic voice. From her earliest efforts in the late 1960s,
Marjorie was attracted to film's potential to portray the complexity of
private events and personal relationships, mostly in response to family
life. Her gestural and vivid camerawork, along with an intricate approach
to poetic editing, created a body of work that is unsurpassed in its
intimacy and its conveyance of subtle feelings and complex responses to her
personal interactions.
Marjorie's subjects included her old family house, young women friends,
childhood fantasy figures, lovers, siblings, teenage girls, her parents,
and her husband. Issues sprang naturally from sharing her life with the
people and places she knew, and their range is astonishing: childbirth,
sexuality, memory, the cultural roles women, political activism, the
sensuality of daily objects, urban survival, rural pleasures and the values
of classical tradition. While deeply influential on both feminist art and
the culture of personal experimental filmmaking, Marjorie's work exists
beyond categorization or reductive explanation. It is alive with multiple,
often-contradictory meanings and remains a personal experience.
   

Re: [Frameworks] Digital hd projection

[Scott Dorsey]

If you're seeing lines on the edges of the frame, I'd wonder also if the
blacks aren't really very black at all.  The two together would indicate it's
time to replace the LCD.  They fade after use.

Digital projection of black and white currently won't get blacks as rich as
the original film, but it's possible to do a pretty good job with the right
equipment.  That means having a projector that _has_ good blacks, having a
projector that is bright enough to have a 16fl white, and having the projector
aligned properly so that a grey scale chip chart looks and measures correct.

Too often I see projectors that aren't bright enough, so they crank the 
"brightness" control up the blacks go grey, the whites blow out, and
if you looked at a grey scale you would see the top three and bottom three
chips all looked the same
--scott
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