Re: [Frameworks] Tri x reversal super 8

[Shumona Goel]

Thanks for all your inputs. We did tests over the last year, whenever we
could. But shooting a documentary, and here there aren't any labs (that i
know of), so it's a little less than ideal. Bigger challenge is the monsoon
weather! Thank you again

On Thursday, July 25, 2019, Jeff Kreines  wrote:

> http://www.cameramanuals.org/flashes_meters/sekonic_l-28c2.pdf
>
> Jeff Kreines
> Kinetta
> j...@kinetta.com
> kinetta.com
>
> Sent from iPhone.
>
> On Jul 24, 2019, at 3:54 PM, Jeff Kreines  wrote:
>
> Hold the meter in the same light that strikes your subject, and point the
> dome back at the camera lens. That’s how you use an incident meter. Don’t
> use the slide unless you know what it does.
>
> Use 1/50th of a second for most cameras at 24 FPS unless you have to
> compensate for the camera’s prism.
>
> Compare to the camera’s light reading.  Are they in the ballpark?
>
> If you can, shoot a test in 1/2 stop increments from 2.5 stops under to
> 2.5 stops over. That will help you figure out if your meter is accurate and
> if you are using it properly.
>
> Good luck!
>
> Jeff Kreines
> Kinetta
> j...@kinetta.com
> kinetta.com
>
> Sent from iPhone.
>
> On Jul 24, 2019, at 2:50 PM, Ned Kihn  wrote:
>
>
> On Wed, Jul 24, 2019, 4:04 AM FrameWorks Admin 
> wrote:
>
>> Hi Shumona,
>>
>> Actually the ASA depends on how you develop it. You can also push or pull
>> by choosing your own ASA setting.
>> If you develop as negative, the ASA is usually rated at 400, and as
>> reversal at 200, in daylight.
>>
>> -Pip
>>
>>
>>
>> On Jul 24, 2019, at 7:43 AM, Shumona Goel  wrote:
>>
>>  Dear Frameworks,
>>>
>>
>> I am shooting on super 8 tri x reversal black and white, stock number
>> 7266.
>>
>> Do i rate this in daylight at 200 Asa?
>>
>> If i rate it at 200 Asa, do I need to open up any further than what the
>> light meter indicates? I am using a sekonic analog meter.
>>
>>
>> ___
>> 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
>
>
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Re: [Frameworks] Indigenous and Black Women Experimental Filmmakers

[Sebastian Wiedemann]

Thanks a lot Chris!



[image: Mailtrack]

Remetente
notificado por
Mailtrack

07/24/19,
09:27:40 PM

Em qua, 24 de jul de 2019 às 19:15, Chris Freeman <
christopherbriggsfree...@gmail.com> escreveu:

>
>
> Film Feminisms: a Global Introduction by Kristin Hole and Jelaca Dijana
> may have some leads, as may other writings by those authors.
>
>
>
>
>
>
> On Wed, Jul 24, 2019 at 9:40 AM Sebastian Wiedemann <
> wiedemann.sebast...@gmail.com> wrote:
>
>> Hi,
>> Im looking for bibliography on Indigenous and Black Women Experimental
>> Filmmakers. For example about the work of Akosua Adoma Owusu or Ng'endo
>> Mukii. Until now the only source I found was an essay about the Maori
>> experimental filmmaker, Nova Paul.
>> Thanks a lot for any help you can give me,
>> Best,
>> Sebastian
>>
>>
>> --
>> Sebastian Wiedemann
>> http://swiedemann.tumblr.com/
>> http://wavesproject.tumblr.com/
>> http://hambrecine.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
>


-- 
Sebastian Wiedemann
http://swiedemann.tumblr.com/
http://wavesproject.tumblr.com/
http://hambrecine.com/
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[Frameworks] °*°- Directors Lounge Screening - Maria Manasterny - Eyeless Dreams and Ruined Carpet Foames -°*°-

[Klaus W. Eisenlohr]

Directors Lounge Screening
Maria Manasterny
Augenlose Träume und ruinierte Teppichschäume

Thursday, 25 July 2019
21:00 | Z-Bar | Bergstraße 2 | 10115 Berlin-Mitte

Eyeless Dreams and Ruined Carpet Foames
Experimental shorts and animations

The film work of Maria Manasterny combines a broad variety of
different genres, such as animation, docufiction 
and experimental film by her joining artistic 
attitude. The narrative substructure, the open 
experimental design and her love for film are 
common to all of her films. Her love for films 
becomes evident in many subtle quotations and 
film references. The artist concluded her studies 
with a Meisterschüler degree at HBK Braunschweig 
and lives and works in Berlin, since.


Argos Augen (Argo's Eyes, 2014) is an 
experimental fiction, set between dream and 
reality, which is a recurrent motive in 
Manastreny's films. A voice-over reflects in a 
dream-like and poetic way about whales and whale 
catchers in her own family. The text is being 
linked with images of the domestic life of an 
older generation during night and daytime. Time 
seems to be floating. A young protagonist appears 
to be a visitor, a passer-by not belonging to 
this place but interacting in intimate ways. A 
feeling of memory and farewell to a once familiar 
surrounding emerges between stages of waking and 
dreaming.


Fully realized with found footage, Better Safe than Sorry (2018) is a
story told by a female narrator  from the perspective of an
investigative reporter. She only appears as voice, and tells about
secret bunkers at Niagara Falls and a private organization committed
to help the affluent to construct a possible survival scenario in the
worst case of atomic apocalypse and a future after. The images are
mostly connected with the collective end-of-the-world phantasies from
the eighties and thus bear a melancholic touch. At the same time,
they win a new, current actuality by the expressed urgency in the
film.

Das Leben vom Diwan aus (Live, as seen from the divan 2017) first
seems to be a surreal story between traumatic experiences, dream and
hallucinations. More so, as the young protagonist's experiences are
being confronted with a medical and professional surrounding that do
not take her for too serious, as it appears. In fact, the story told
in the film is connected with an autobiographic experience of the
artist, who once suffered from a tar-like poisoning of the breathing
organ. The film starts again with a voice-over from first
perspective, but then passes the voice to visual dialogs with single
protagonists who seem to stand or sit opposite to the narrator. Thus,
a specific subjective perspective evolves, connected with the first
person narration from the beginning. The traumatic and surreal
appearing story becomes even more condensed by this unique first
person perspective consisting throughout the film, even if we follow
the protagonist through other dream-like sequences.

We are proud to feature the dense and poetic film work of Maria
Manasterny. The artist will be present for Q

Links:
http://www.maria-manasterny.de
Directors Lounge  http://www.directorslounge.net
Richfilm  http://www.richfilm.de/currentUpload/
Z-Bar  http://www.z-bar.de

--

Klaus W. Eisenlohr, Osnabrücker Str. 25, D-10589 Berlin, Germany



email:  kl...@richfilm.de
and film production:http://www.richfilm.de


phone:  int.- 49 - 30 - 3409 5343 (BERLIN)___
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Re: [Frameworks] Indigenous and Black Women Experimental Filmmakers

[Chris Freeman]

Film Feminisms: a Global Introduction by Kristin Hole and Jelaca Dijana may
have some leads, as may other writings by those authors.






On Wed, Jul 24, 2019 at 9:40 AM Sebastian Wiedemann <
wiedemann.sebast...@gmail.com> wrote:

> Hi,
> Im looking for bibliography on Indigenous and Black Women Experimental
> Filmmakers. For example about the work of Akosua Adoma Owusu or Ng'endo
> Mukii. Until now the only source I found was an essay about the Maori
> experimental filmmaker, Nova Paul.
> Thanks a lot for any help you can give me,
> Best,
> Sebastian
>
>
> --
> Sebastian Wiedemann
> http://swiedemann.tumblr.com/
> http://wavesproject.tumblr.com/
> http://hambrecine.com/
>
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
>
___
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Re: [Frameworks] Tri x reversal super 8

[Jeff Kreines]

Hold the meter in the same light that strikes your subject, and point the dome 
back at the camera lens. That’s how you use an incident meter. Don’t use the 
slide unless you know what it does. 

Use 1/50th of a second for most cameras at 24 FPS unless you have to compensate 
for the camera’s prism. 

Compare to the camera’s light reading.  Are they in the ballpark?

If you can, shoot a test in 1/2 stop increments from 2.5 stops under to 2.5 
stops over. That will help you figure out if your meter is accurate and if you 
are using it properly. 

Good luck!

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Jul 24, 2019, at 2:50 PM, Ned Kihn  wrote:
> 
> 
>> On Wed, Jul 24, 2019, 4:04 AM FrameWorks Admin  
>> wrote:
>> Hi Shumona,
>> 
>> Actually the ASA depends on how you develop it. You can also push or pull by 
>> choosing your own ASA setting.
>> If you develop as negative, the ASA is usually rated at 400, and as reversal 
>> at 200, in daylight.
>> 
>> -Pip
>> 
>> 
>> 
 On Jul 24, 2019, at 7:43 AM, Shumona Goel  wrote:
 
  Dear Frameworks, 
>>> 
>>> I am shooting on super 8 tri x reversal black and white, stock number 7266. 
>>> 
>>> Do i rate this in daylight at 200 Asa? 
>>> 
>>> If i rate it at 200 Asa, do I need to open up any further than what the 
>>> light meter indicates? I am using a sekonic analog meter. 
>> 
>> ___
>> FrameWorks mailing list
>> FrameWorks@jonasmekasfilms.com
>> https://mailman-mail5.webfaction.com/listinfo/frameworks
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
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Re: [Frameworks] Tri x reversal super 8

[Ned Kihn]

On Wed, Jul 24, 2019, 4:04 AM FrameWorks Admin 
wrote:

> Hi Shumona,
>
> Actually the ASA depends on how you develop it. You can also push or pull
> by choosing your own ASA setting.
> If you develop as negative, the ASA is usually rated at 400, and as
> reversal at 200, in daylight.
>
> -Pip
>
>
>
> On Jul 24, 2019, at 7:43 AM, Shumona Goel  wrote:
>
>  Dear Frameworks,
>>
>
> I am shooting on super 8 tri x reversal black and white, stock number
> 7266.
>
> Do i rate this in daylight at 200 Asa?
>
> If i rate it at 200 Asa, do I need to open up any further than what the
> light meter indicates? I am using a sekonic analog meter.
>
>
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
>
___
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Re: [Frameworks] Tri x reversal super 8

[Scott Dorsey]

> If I rate it at 200 ASA Daylight, and open up two stops, this should be
> correct, no?

Why opening two stops?  Do you have a prism that loses 3/4 of the light
or some other reason your f-stop on the lens doesn't reflect the real t-stop?
--scott
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Re: [Frameworks] Tri x reversal super 8

[Shumona Goel]

Thanks!

On Wednesday, July 24, 2019, Els van Riel  wrote:

> Be aware that every light meter has its own personality.
> A dirty hood can make a stop difference.
> Needles need rescaling and adjusting.
>
> always good to make tests first.
>
> Els
> Brussels
>
>
>
> On 24 Jul 2019, at 14:39, Shumona Goel  wrote:
>
> Thanks, Jeff.  I'm using a sekonic incidental (analog) light meter.
> If I rate it at 200 ASA Daylight, and open up two stops, this should be
> correct, no?
>
>
> On Wed, Jul 24, 2019 at 6:07 PM Jeff Kreines  wrote:
>
>> How you use a light meter can also be a significant factor — poor
>> metering technique can give readings that are several stops off. My
>> personal preference is an incident meter.
>>
>> With reversal stock always err towards slight underexposure.
>>
>> Good luck. Shoot short tests.
>>
>> Jeff Kreines
>> Kinetta
>> j...@kinetta.com
>> kinetta.com
>>
>> Sent from iPhone.
>>
>> On Jul 24, 2019, at 7:20 AM, Scott Dorsey  wrote:
>>
>> >> I am not getting it. Is 200 ISO the native speed of the film? Or is it
>> 160 ?
>> >
>> > It is both.  The film is less sensitive to red light than to blue light,
>> > so if you expose it in red light, the effective ASA is lower.  If you
>> > are exposing with tungsten light, you use 160 ASA, while if you are
>> exposing
>> > with daylight, you use 200 ASA.
>> >
>> >> Most Super-8 cameras have an orange filter for daylight.
>> >> But for b one would always open the filter right?
>> >
>> > Right, you disable the 85 filter.  It's a bad idea in any case.
>> > --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 mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
>
>
___
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[Frameworks] Indigenous and Black Women Experimental Filmmakers

[Sebastian Wiedemann]

Hi,
Im looking for bibliography on Indigenous and Black Women Experimental
Filmmakers. For example about the work of Akosua Adoma Owusu or Ng'endo
Mukii. Until now the only source I found was an essay about the Maori
experimental filmmaker, Nova Paul.
Thanks a lot for any help you can give me,
Best,
Sebastian

-- 
Sebastian Wiedemann
http://swiedemann.tumblr.com/
http://wavesproject.tumblr.com/
http://hambrecine.com/
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Re: [Frameworks] Tri x reversal super 8

[Els van Riel]

Be aware that every light meter has its own personality.
A dirty hood can make a stop difference.
Needles need rescaling and adjusting.

always good to make tests first.

Els
Brussels



On 24 Jul 2019, at 14:39, Shumona Goel  wrote:

Thanks, Jeff.  I'm using a sekonic incidental (analog) light meter.  
If I rate it at 200 ASA Daylight, and open up two stops, this should be 
correct, no?


On Wed, Jul 24, 2019 at 6:07 PM Jeff Kreines mailto:j...@kinetta.com>> wrote:
How you use a light meter can also be a significant factor — poor metering 
technique can give readings that are several stops off. My personal preference 
is an incident meter. 

With reversal stock always err towards slight underexposure. 

Good luck. Shoot short tests. 

Jeff Kreines
Kinetta
j...@kinetta.com 
kinetta.com 

Sent from iPhone. 

On Jul 24, 2019, at 7:20 AM, Scott Dorsey mailto:klu...@panix.com>> wrote:

>> I am not getting it. Is 200 ISO the native speed of the film? Or is it 160 ?
> 
> It is both.  The film is less sensitive to red light than to blue light,
> so if you expose it in red light, the effective ASA is lower.  If you
> are exposing with tungsten light, you use 160 ASA, while if you are exposing
> with daylight, you use 200 ASA. 
> 
>> Most Super-8 cameras have an orange filter for daylight.
>> But for b one would always open the filter right?
> 
> Right, you disable the 85 filter.  It's a bad idea in any case.
> --scott
> 
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com 
> https://mailman-mail5.webfaction.com/listinfo/frameworks 
> 

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Re: [Frameworks] suggestions for experimental road movies and/or experimental films about automobility

[Jorge Lorenzo Flores Garza]

I couldn't resist suggesting my own "'On the Road'by Jack Kerouac" jejeje:

http://jorgelorenzocine.mx/en/on-the-road-by-jack-kerouac/


De: FrameWorks  en nombre de Hardin, 
Ted 
Enviado: martes, 23 de julio de 2019 03:40 p. m.
Para: Experimental Film Discussion List 
Asunto: Re: [Frameworks] suggestions for experimental road movies and/or 
experimental films about automobility

James Herbert’s Automan (1988, 20 min.) might be an interesting addition 
stressing ‘automobility.’

Intriguing program.

Ted Hardin
Associate Professor
Cinema Art and Science
Columbia College Chicago
Co-President Long Distance Productions
http://longdistanceproductions.com/
thar...@colum.edu

On Jul 23, 2019, at 8:56 AM, Kornelia Boczkowska 
mailto:kornelia.boczkow...@gmail.com>> wrote:



Hi Bryan,

I'm now working on a three-year, grant-funded post-doctoral project on road 
movie and travelogue forms in avant-garde and experimental film. Eric, many 
thanks for recommending my research!

Below please find a selection of films that follow and/or ideally experiment 
with some of the (mainstream) genre's conventions as proposed by Laderman and 
other scholars - just skip the titles that have been already mentioned. And 
feel free to contact me off list if you're interested in the details of my 
project.

Good luck with your program,

Kornelia





Highway by Hilary Harris (1958)

Quixote by Bruce Baillie (1965)

Mass for the Dakota Sioux by Bruce Baillie (1964)

Road Film by Standish Lawder (1970)

Harmonica by Larry Gottheim (1971)

Pasadena Freeway Stills by Gary Beydler (1974)

Frame by Ken Kobland (1977)

Monitoring the Unstable Earth by Michael Wallin (1980)

Sorted Details by Charles Wright (1980)

Landscape and Desire by Ken Kobland (1981)

West by Mark Street (1985)

Night Highway by Bill Morrison (1990)

Portland by Greta Snider (1996)

Desert Abstractions by Jon Behrens (1997)

Median Strip by James Schneider (1999)

Stark Film by Eric Patrick (1999)

Ghost Trip by Bill Morrison (2000)

Orchard by Julie Murray (2004)

Down the Road by Walter Ungerer (2005)

On The Line by Cathy Lee Crane (2010)

Highway Landscape by J.J. Murphy (1972)

North On Evers by James Benning (1991)

Easy Rider by James Benning (2012)

The Wonder Ring by Stan Brakhage (1955)

Gnir Rednow by Stan Brakhage (196?)

Visions in Meditation #2: Mesa Verde by Stan Brakhage (1989)

Pennsylvania-Chicago-Illinois by Jim Davis (1957-59)

El Train Film - Second Version by Dominic Angerame (1976)

Night Train by Guy Sherwin (1979)

RR by Stan Brakhage(1981)

Disorient Express by Ken Jacobs (1996)

The Georgetown Loop by Ken Jacobs (1996)

Two Roll , Camera Roll by Jon Behrens (2017)

Cayuga Run by Storm De Hirsch (1967)

Sphinx on the Seine by Paul Clipson (2009)

Bridges-Go-Round by Shirley Clarke (1958)

Night Driving by Mort & Millie Goldsholl (1957)

San Francisco by Anthony Stern (1968)

The Movement of Light At Night by Jon Behrens (1996)

City Walk by Bill Morrison (1999)

Bicycle by Chuck Hudina (1975)

Girl and a Bicycle by Jon Behrens (1995)

I My Bike by Ken Paul Rosenthal (2002)

Into the Mass (dual projection) by Tomonari Nishikawa (2007)

A Ticket Home by Dominic Angerame (1982)

Oasis by James Schneider (1995)

The Lost Films by Stan Brakhage (1995)

Tender Feet by Fern Silva (2013)

A Visit to Indiana by Ted Davis and Curt McDowell (1970)

Shift by Ernie Gehr (1974)

Passage by Ernie Gehr (2003)

Eureka by Ernie Gehr (1979)

September Express by De Hirsch, Storm (1973)

The Death Train by Bill Morrison (1993)

Ordinary Matter by Hollis Frampton (1972)

Acceleration by Scott Stark (1993)

Joe Dimaggio 1, 2, 3 by Anne McGuire (1991)

Runner by Bill Creston (1981)

Boston elevated by Ralph Thanhauser (1970)

[42nd St. footage] by Aldo Tambellini (1970)

Rules of the Road by Su Friedrich (1993)

Horizons by Larry Gottheim (1973)

Roam Sweet Home by Ellen Spiro (1996) – a documentary film



W dniu 22.07.2019 o 12:50, Bryan Konefsky pisze:
Hello all, I am in the process of building a program that looks at automobility 
and road movies from an experimental perspective... wondering if anyone has 
suggestions about artists' films that study this topic... Titles and links 
would be preferable and I am open to both historic and current works - if you 
have made something along these lines I would be happy to have the opportunity 
to view such films/videos as well.

thanks everyone
Bryan Konefsky
president, Basement Films
founder/director, Experiments in Cinema

Great art has always gone to the masses, to their hopes and dreams, for that 
spark that kindled their souls. The rest, "the many, all too many" as Nietzsche 
called mediocrity, have been mere commodities that can be bought with money, 
cheap glory, or social position.
- Emma Goldman



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Re: [Frameworks] Tri x reversal super 8

[Shumona Goel]

Thanks, Jeff.  I'm using a sekonic incidental (analog) light meter.
If I rate it at 200 ASA Daylight, and open up two stops, this should be
correct, no?


On Wed, Jul 24, 2019 at 6:07 PM Jeff Kreines  wrote:

> How you use a light meter can also be a significant factor — poor metering
> technique can give readings that are several stops off. My personal
> preference is an incident meter.
>
> With reversal stock always err towards slight underexposure.
>
> Good luck. Shoot short tests.
>
> Jeff Kreines
> Kinetta
> j...@kinetta.com
> kinetta.com
>
> Sent from iPhone.
>
> On Jul 24, 2019, at 7:20 AM, Scott Dorsey  wrote:
>
> >> I am not getting it. Is 200 ISO the native speed of the film? Or is it
> 160 ?
> >
> > It is both.  The film is less sensitive to red light than to blue light,
> > so if you expose it in red light, the effective ASA is lower.  If you
> > are exposing with tungsten light, you use 160 ASA, while if you are
> exposing
> > with daylight, you use 200 ASA.
> >
> >> Most Super-8 cameras have an orange filter for daylight.
> >> But for b one would always open the filter right?
> >
> > Right, you disable the 85 filter.  It's a bad idea in any case.
> > --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
>
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Re: [Frameworks] Tri x reversal super 8

[Shumona Goel]

Thanks for your responses.  It's 160 Tungsten and 200 D


On Wed, Jul 24, 2019 at 5:51 PM Scott Dorsey  wrote:

> > I am not getting it. Is 200 ISO the native speed of the film? Or is it
> 160 ?
>
> It is both.  The film is less sensitive to red light than to blue light,
> so if you expose it in red light, the effective ASA is lower.  If you
> are exposing with tungsten light, you use 160 ASA, while if you are
> exposing
> with daylight, you use 200 ASA.
>
> > Most Super-8 cameras have an orange filter for daylight.
> > But for b one would always open the filter right?
>
> Right, you disable the 85 filter.  It's a bad idea in any case.
> --scott
>
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
>
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Re: [Frameworks] Tri x reversal super 8

[Jeff Kreines]

How you use a light meter can also be a significant factor — poor metering 
technique can give readings that are several stops off. My personal preference 
is an incident meter. 

With reversal stock always err towards slight underexposure. 

Good luck. Shoot short tests. 

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

On Jul 24, 2019, at 7:20 AM, Scott Dorsey  wrote:

>> I am not getting it. Is 200 ISO the native speed of the film? Or is it 160 ?
> 
> It is both.  The film is less sensitive to red light than to blue light,
> so if you expose it in red light, the effective ASA is lower.  If you
> are exposing with tungsten light, you use 160 ASA, while if you are exposing
> with daylight, you use 200 ASA. 
> 
>> Most Super-8 cameras have an orange filter for daylight.
>> But for b one would always open the filter right?
> 
> Right, you disable the 85 filter.  It's a bad idea in any case.
> --scott
> 
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks

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Re: [Frameworks] Tri x reversal super 8

[Scott Dorsey]

> I am not getting it. Is 200 ISO the native speed of the film? Or is it 160 ?

It is both.  The film is less sensitive to red light than to blue light,
so if you expose it in red light, the effective ASA is lower.  If you
are exposing with tungsten light, you use 160 ASA, while if you are exposing
with daylight, you use 200 ASA. 

> Most Super-8 cameras have an orange filter for daylight.
> But for b one would always open the filter right?

Right, you disable the 85 filter.  It's a bad idea in any case.
--scott

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Re: [Frameworks] Tri x reversal super 8

[Bernd Luetzeler]

Hi Pip & Shumona,

I am not getting it. Is 200 ISO the native speed of the film? Or is it 160 ?

Most Super-8 cameras have an orange filter for daylight.
But for b one would always open the filter right?
(Unless you want to use the orange filter in order to enhance the clouds…)
So then how are there different ISOs for indoors & outdoors shooting?

In Shumonas case I think the camera is a Beaulieu 4008 ZMII which has a filter 
key.
And in order to de-activate the orange filter one has to enter the key, right?

So once I slide in the filter key, my ISO should always be 200, correct?

best
Bernd



> Am 24.07.2019 um 10:04 schrieb FrameWorks Admin :
> 
> Hi Shumona,
> 
> Actually the ASA depends on how you develop it. You can also push or pull by 
> choosing your own ASA setting.
> If you develop as negative, the ASA is usually rated at 400, and as reversal 
> at 200, in daylight.
> 
> -Pip
> 
> 
> 
>> On Jul 24, 2019, at 7:43 AM, Shumona Goel > > wrote:
>> 
>>  Dear Frameworks, 
>> 
>> I am shooting on super 8 tri x reversal black and white, stock number 7266. 
>> 
>> Do i rate this in daylight at 200 Asa? 
>> 
>> If i rate it at 200 Asa, do I need to open up any further than what the 
>> light meter indicates? I am using a sekonic analog meter. 
> 
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Re: [Frameworks] suggestions for experimental road movies and/or experimental films about automobility

[Albert Alcoz]

Hello Bryan,

Here's another suggestion of an experimental road movie, in this case with
electronic music.
The White Room was created by the musical group The KLF in 1991:
https://www.youtube.com/watch?v=ZG3A0jebU0A

"The White Room a road movie, about the KLF's search for the mystical White
Room that would enable them to be released from their contract with
Eternity."

Best,
Albert

On Tue, Jul 23, 2019 at 9:13 PM Mani Mazinani 
wrote:

> Seated Figures (1988)
> Michael Snow
> 16mm colour 42 minutes
>
>
>
> I didn't see this on the previous lists...
>
> Best!,
> Mani
>
> On Tue., Jul. 23, 2019, 15:00 mary billyou  wrote:
>
>> also,
>> Martha Rosler has some super 8 films at EAI that were produced when she
>> was in San Diego (hence the car):
>>
>> Flowerfields
>> Secrets from the Street
>>
>>
>> Cheers,
>>
>> mary
>>
>>
>> On Mon, Jul 22, 2019, 6:50 AM Bryan Konefsky  wrote:
>>
>>> Hello all, I am in the process of building a program that looks at
>>> automobility and road movies from an experimental perspective... wondering
>>> if anyone has suggestions about artists' films that study this topic...
>>> Titles and links would be preferable and I am open to both historic and
>>> current works - if you have made something along these lines I would be
>>> happy to have the opportunity to view such films/videos as well.
>>>
>>> thanks everyone
>>> Bryan Konefsky
>>> president, Basement Films
>>> founder/director, Experiments in Cinema
>>>
>>> Great art has always gone to the masses, to their hopes and dreams, for
>>> that spark that kindled their souls. The rest, "the many, all too many" as
>>> Nietzsche called mediocrity, have been mere commodities that can be bought
>>> with money, cheap glory, or social position.
>>> - Emma Goldman
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>>>
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>>
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-- 
http://visionaryfilm.net/ 
http://albertalcoz.com/ 
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Re: [Frameworks] Tony Conrad images

[FrameWorks Admin]

Hi Jonathan,
Re:Voir published the DVD of The Flicker and we prepared that by scanning the 
negative in 2K so we have DPX files and TIFF images of every frame!
Pip Chodorov, Re:Voir



> On Jul 24, 2019, at 2:53 AM, Jonathan Walley  wrote:
> Does anyone know who one would contact if one (me) was seeking images of 
> Tony’s work (particularly films and expanded cinema from the 1960s and ‘70s) 
> and permissions to publish those images? The Flicker, the Yellow Movies, the 
> cooked films, etc.

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Re: [Frameworks] Tri x reversal super 8

[FrameWorks Admin]

Hi Shumona,

Actually the ASA depends on how you develop it. You can also push or pull by 
choosing your own ASA setting.
If you develop as negative, the ASA is usually rated at 400, and as reversal at 
200, in daylight.

-Pip



> On Jul 24, 2019, at 7:43 AM, Shumona Goel  wrote:
> 
>  Dear Frameworks, 
> 
> I am shooting on super 8 tri x reversal black and white, stock number 7266. 
> 
> Do i rate this in daylight at 200 Asa? 
> 
> If i rate it at 200 Asa, do I need to open up any further than what the light 
> meter indicates? I am using a sekonic analog meter. 

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