[Frameworks] Artifact Small Format Film Festival

[Amanda Thomson]

Hello,

I just wanted to send out a quick note that the Artifact Small Format Film
Festival in Calgary AB Canada is accepting submissions of super 8 + 16mm
short films.  Submissions are free, the deadline is November 1st, and they
pay artist fees to selected works:
https://filmfreeway.com/ArtifactSmallFormatFilmFestival

Stay warm and dry wherever you are!

Amanda Thomson
-- 

https://vimeo.com/amandat
http://www.irisfilmcollective.com
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Re: [Frameworks] 16mm questions

[Amanda Thomson]

A couple of years ago I took a suitcase full of exposed, but unprocessed
film (from print stock to Tri-X, including the Agfa stock previously
mentioned) over the Atlantic to Europe as checked luggage where it crossed
through roughly 8 x-rays before I processed it all at L'Abominable in Paris.

I'm no expert in fogging/image quality and truth be told I did shoot a
reasonable amount of clouds and smog from forest fires, but the the images
showed no obvious signs of X-ray fog.  This includes the Agfa 200D which
was shot in clear conditions.  There was another issue with some of it,
that I later realized was bromide drag, but that's something else
altogether (it has to do with agitation).

All this lead me to believe that the fear of passing film through X-rays is
a bit exaggerated.  But of course this is only my experience...

Amanda

-- 

https://vimeo.com/amandat
http://www.irisfilmcollective.com

-- Forwarded message --
From: Scott Dorsey 
To: frameworks@jonasmekasfilms.com
Cc:
Bcc:
Date: Mon, 18 Dec 2017 13:01:34 -0500
Subject: Re: [Frameworks] 16mm questions
The effect is cumulative.  One pass might not hurt... ten likely will.
Measure fog density and you'll know, but of course by then it's too late.
--scott


-- Forwarded message --
> From: nemes gyula 
> To: frameworks@jonasmekasfilms.com
> Cc:
> Bcc:
> Date: Mon, 18 Dec 2017 13:57:18 +0100
> Subject: [Frameworks] 16mm questions
> Dear celluloid enthusiasts,
>
> I'm working on 16mm Bolex, travelling worldwide.
> Can I ask you some advices?
>
> 1.Do you have any experiences in airport x-ray damages? Is x-ray effective
> or not? Do lead-line bags protect the material or make even more problems
> with security guards?
> Airports say it's OK till 400 ISO, Kodak shows the damages caused by x-ray.
> Do you know any courier without x-ray checking?
>
> 2.Do you know any 16mm material produced presently besides Kodak?
> The only one I know is Foma, a bad quality reversal material for same
> prize as Kodak.
>
> Any advices highly appreciated.
>
> Best,
>
> Gyula Nemes
> Hungary
>
> --
> Nemes Gyula
> Playtime
> Absolut Film Studio
> Budapest 1025 Pusztaszeri út 11-13.
> +36 20 9856277 <+36%2020%20985%206277>
> https://vimeo.com/user4774101
> www.zerofilm.hu
> fb: Zero - Nemes Gyula filmje
> #zero_film_official
>
>
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[Frameworks] experimental/feminist films with a woman's voice-over narration?

[Amanda Thomson]

A few contemporary examples for the list:

Kelly Gallagher, Pilar Monsell, Mónica Savirón

I also have a few films with female voice over, usually mine.

Amanda Thomson
--

vimeo.com/amandat
www.irisfilmcollective.com
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Re: [Frameworks] Polyester Base Stocks

[Amanda Thomson]

Hi Charlotte,

As mentioned in a post earlier this week I have ran several different
polyester stocks through my bolex with out a problem.

I have also bipacked a polyester and acetate a couple of times.  The trick
is to line up the sproket holes which you can do just as your about to load
by cutting the end of the film together while the sprokets are synched up.

In both shooting and printing/bipacking I've shot at 12fps to in theory let
in more light and I guess now that you mention it, keep it slow in case of
a problem, particularly with printing.

Good luck!


-- Forwarded message --
> From: Charlotte Taylor 
> To: Experimental Film Discussion List 
> Cc:
> Bcc:
> Date: Fri, 18 Aug 2017 22:17:57 -0400
> Subject: [Frameworks] Polyester Base Stocks
> Hey Frameworks!
>
> Has anybody used a stock on polyester base instead of acetate in their
> Bolex? What was your experience?
>
> And also, has anyone tried bi-packing it?
>
> Asking for a friend. No, really. :)
>
> --charlotte
>
>
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[Frameworks] 7302 vs 3302

[Amanda Thomson]

Hello fellow Frameworkers,

Can someone enlighten me as to whether there is a difference between 7302
and 3302 beyond that 3302 is polyester and 7302 is acetate?

>From the last catalogue I have that listed them both in 2014:

7302 - Fine Grain Release Positive
A film for general, black-and-white production release printing. Also
useful for making negative and positive titles, dubbing prints for
sound, and kinescope recording from negative tube images.
$330.00 (Canadian) for 2000' x 16mm

3302 - Black and White Print
Coated on a proprietary, polyester base providing benefits to archivists,
laboratories, exhibitors, creatives and distributors. It is a clean,
durable print stock and has long lasting sound performance.
$257.40 (Canadian) for 2000' x 16mm

I guess I don't understand the term "release printing".  Is the $70 price
difference the cost of the base?  I called Kodak to inquire and spoke with
someone who seemed to know very little about film, but was very excited
about what I was doing; making my own print.

Thanks in advance,

Amanda Thomson
(from Vancouver)
-- 
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http://www.irisfilmcollective.com
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[Frameworks] Eulogy Films

[Amanda Thomson]

Hey Margaret,

We met a few years ago at TIE in Colorado.  I hope you're doing well!

I know this message is a bit late, but... I shot this film one year ago
tonight (April 20) on my mother's birthday, 20 years after her death.  I've
got an interneg made, and I'm working on the final print.  I think it might
fit with what you're looking for.

Good Night Birthday
https://vimeo.com/193670729
password: birthday

Better late than never, right?

Amanda

https://vimeo.com/amandat
http://www.irisfilmcollective.com

-- Forwarded message --
> From: Margaret Rorison 
> To: frameworks@jonasmekasfilms.com
> Cc:
> Bcc:
> Date: Sat, 18 Mar 2017 11:43:59 -0400
> Subject: [Frameworks] Eulogy Films
> Dear Film Friends,
>
> I am curious about film eulogies and would love to know more films that
> have been made to honor someone. For example, Nathaniel Dorsky's *August
> and After*
>
> ​I am looking for short films in particular.
>
> Poetic gestures of goodbye, final notes, odes...
>
> thank you,
> Margaret Rorison
> ​
>
> ---
> http://margaretrorison.com/
> http://sightunseenbaltimore.com/
>
>
>
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Re: [Frameworks] 16mm E6 - Wittner vs. Agfa

[Amanda Thomson]

Hi Dan,

I've also shot 3383 in camera.  The main thing to keep in mind (aside from
it needing lots of light) is that it's expecting the orange mask of colour
negative so it makes everything super blue if processed in E6 (1st dev
1min, 2nd dev 2 mins, blix 2 mins, stab 30 sec).  You can put orange
filters in your camera to compensate.  Alternately if processed to negative
its orange.

I've also used the Agfa/Wittner/Aviphot stock it's quite grainy, which
seems especially noticable when transfered digitally.  It has an orange
brownish leaning.  I'm curious to shoot some green now though.

Amanda

On Tue, Jan 24, 2017 at 4:00 AM, 
wrote:

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> Today's Topics:
>
>1. 16mm E6 - Wittner vs. Agfa (Dan Anderson)
>2. Re: 16mm E6 - Wittner vs. Agfa (Pip Chodorov)
>3. Re: 16mm E6 - Wittner vs. Agfa (Scott Dorsey)
>4. Elmo Xenon CX-350 (Michael Walsh)
>5. Re: Elmo Xenon CX-350 (Francisco Torres)
>6. Re: 16mm E6 - Wittner vs. Agfa (Ryder White)
>7. Re: Elmo Xenon CX-350 (Michael Walsh)
>
>
> -- Forwarded message --
> From: Dan Anderson 
> To: Experimental Film Discussion List 
> Cc:
> Date: Mon, 23 Jan 2017 11:48:37 -0600
> Subject: [Frameworks] 16mm E6 - Wittner vs. Agfa
> Hey all,
>
> Wondering if there are any E6 color reversal enthusiasts here that have
> used Wittner Chrome 200D and/or Agfa Aviphot 200D ??
>
> Looked for tests on YouTube, and the Wittner looks better, although it's
> hard to judge due to different types of footage and transfer qualities..
> I'm interested in using it for optical printing and maybe in-camera...
> Hand-developing if I get ambitious.
>
> And for extra credit.. Anyone ever try using Kodak 3383 print stock in a
> camera?
>
> Thanks!!
>
>
> -- Forwarded message --
> From: Pip Chodorov 
> To: Experimental Film Discussion List 
> Cc:
> Date: Mon, 23 Jan 2017 18:54:02 +0100
> Subject: Re: [Frameworks] 16mm E6 - Wittner vs. Agfa
> Hey Dan,
> Wittner repackaged Agfa's stock, so it's exactly the same stuff.
> This was originally designed for arial photography, perhaps for mapmaking
> or topography.
> Therefore it has a certain look and is especially receptive to green.
> I doubt it will look good in the optical printer (you will need a CTB
> filter because it's balanced for daylight). Hand developing is easy in E6.
> -Pip
>
>
>
> At 11:48 -0600 23/01/17, Dan Anderson wrote:
>
>> Hey all,
>>
>> Wondering if there are any E6 color reversal enthusiasts here that have
>> used Wittner Chrome 200D and/or Agfa Aviphot 200D ??
>>
>
>
>
> -- Forwarded message --
> From: Scott Dorsey 
> To: frameworks@jonasmekasfilms.com
> Cc:
> Date: Mon, 23 Jan 2017 13:00:46 -0500
> Subject: Re: [Frameworks] 16mm E6 - Wittner vs. Agfa
> I think the Wittner and Agfa films are the same film off of one big jumbo
> that was released a couple years back.  When it is gone it is likely gone.
>
> 3383 is very slow but if you can stand one or two seconds per frame it
> could be interesting.
> --scott
>
>
>
> -- Forwarded message --
> From: Michael Walsh 
> To: Experimental Film Discussion List 
> Cc:
> Date: Mon, 23 Jan 2017 09:14:37 -0900
> Subject: [Frameworks] Elmo Xenon CX-350
> Hello All,
> I have a 16mm Elmo Xenon CX-350 projector. The amplifier is not working
> and I'm wondering where to send out for repair.
> Any leads appreciated!
> -Michael Walsh
>
>
> -- Forwarded message --
> From: Francisco Torres 
> To: Experimental Film Discussion List 
> Cc:
> Date: Mon, 23 Jan 2017 15:18:45 -0400
> Subject: Re: [Frameworks] Elmo Xenon CX-350
> where are you located?
>
> 2017-01-23 14:14 GMT-04:00 Michael Walsh :
>
>> Hello All,
>> I have a 16mm Elmo Xenon CX-350 projector. The amplifier is not working
>> and I'm wondering where to send out for repair.
>> Any leads appreciated!
>> -Michael Walsh
>>
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>
>
> -- Forwarded message --
> From: Ryder White 
> To: Experimental Film