Re: [Frameworks] color separation filter -
Hi, great thread! I am wondering if this can be achieved with a digital transfer, and then loading the digital file into an nle, or after effects for example. Applying digital filters to 3 stacked video tracks and then using composite modes to generate the unified color output. Sorry if this has an obvious answer but I've poked around online, but can't find any info on this. JV Trans-Temporal Constant Films Los Angeles On Wed, Jun 18, 2014 at 7:03 PM, Buck Bito - Movette b...@movettefilm.com wrote: I was intrigued by this thread and compelled to see if I could find a Kodak order number for a set of tricolor filters. I couldn't find it, but the order numbers for the individual wratten filters are here including the #47 Viktoria mentioned: http://motion.kodak.com/motion/Products/Lab_And_Post_Production/Kodak_filters/wrattten2.htm#s1 ---Buck Bito - Movette Film Transfer On Wed, June 18, 2014 5:33 pm, Scott Dorsey wrote: I don't know the 47B offhand, but you can get a set of gelatin tricolor filters from the Kodak motion picture division if you can figure out the order numbers because they aren't in the H-1 book anymore. You might be able to get them from a graphic arts supply house too. --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
Re: [Frameworks] digital hair in the gate removal?
Photoshop is sure fire but laborious. Try the wire removal tool in after effects, we have had some success with that, you just have to do little bits at a time. as it works best with straight segments. its at least a way to minimize the work in photo shop. In photoshop use healing brush, clone brush and spot healing brush as needed - frame by frame. Photoshop does allow video now, but for really precise work we have found that making an image sequence and then going in frame by frame with those tools gives the best result. Try AE Wire removal tool first though its often enough. JV Trans-Temporal Constant Films Los Angeles On Tue, Jun 10, 2014 at 9:17 AM, Dominic Angerame dominic.anger...@gmail.com wrote: Hair is gate is mostly caused by a dirty aperture when filming or transfering, depending on how transfer was done. The orig film should show the hair. The old saying hair today hair tomorrow. Dominic On Mon, Jun 9, 2014 at 6:20 PM, Jeff Kreines j...@kinetta.com wrote: Is the hair in the gate of the original film, or in a badly-done telecine? Software for getting rid of dirt and dust doesn’t work with artifacts that don’t move. Your only choice — it it’s in the film — is to crop the image or live with it. If it’s in the telecine transfer, have it redone. On Jun 9, 2014, at 8:03 PM, ev petrol epetr...@yahoo.com wrote: any tips on software/plugins that might remove a hair in the gate? (from a HD telecine of super 8 footage) cheers all round moira moiratierney.net vimeo.com/moiratierney ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks Jeff Kreines Kinetta j...@kinetta.com kinetta.com kinettaarchival.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
Re: [Frameworks] digital hair in the gate removal?
...And as stated by Michael, the AE paint tool is very useful, especially when combined with the wire removal tool. JV On Fri, Jun 20, 2014 at 2:31 PM, J Vent jvent.subscripti...@gmail.com wrote: Photoshop is sure fire but laborious. Try the wire removal tool in after effects, we have had some success with that, you just have to do little bits at a time. as it works best with straight segments. its at least a way to minimize the work in photo shop. In photoshop use healing brush, clone brush and spot healing brush as needed - frame by frame. Photoshop does allow video now, but for really precise work we have found that making an image sequence and then going in frame by frame with those tools gives the best result. Try AE Wire removal tool first though its often enough. JV Trans-Temporal Constant Films Los Angeles On Tue, Jun 10, 2014 at 9:17 AM, Dominic Angerame dominic.anger...@gmail.com wrote: Hair is gate is mostly caused by a dirty aperture when filming or transfering, depending on how transfer was done. The orig film should show the hair. The old saying hair today hair tomorrow. Dominic On Mon, Jun 9, 2014 at 6:20 PM, Jeff Kreines j...@kinetta.com wrote: Is the hair in the gate of the original film, or in a badly-done telecine? Software for getting rid of dirt and dust doesn’t work with artifacts that don’t move. Your only choice — it it’s in the film — is to crop the image or live with it. If it’s in the telecine transfer, have it redone. On Jun 9, 2014, at 8:03 PM, ev petrol epetr...@yahoo.com wrote: any tips on software/plugins that might remove a hair in the gate? (from a HD telecine of super 8 footage) cheers all round moira moiratierney.net vimeo.com/moiratierney ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks Jeff Kreines Kinetta j...@kinetta.com kinetta.com kinettaarchival.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
Re: [Frameworks] Footage equivalency
Awesome- Thanks to Ed, Ekrem and Roger, very helpful info. Ed, would you be willing to you describe your basic set up and process? As far as chemistry goes, how many feet are reasonable to expect to get from a gallon run of e-6? Thanks for the great info thus far! Joe Ventress On Sun, Apr 28, 2013 at 1:52 PM, Ekrem Serdar ekremser...@gmail.com wrote: Yeah, area math is what I've always done -- ekremserdar.info austin, tx (Sent from a toy) On Apr 28, 2013, at 14:54, Beebe, Roger roge...@ufl.edu wrote: I just woke up from a nap, so maybe my brain isn't working correctly, but shouldn't we be talking about AREA rather than length? That is, a 35mm frame is roughly 4x the area of a 16mm frame, so it requires 4x as much chemistry, not the roughly 2x suggested by the math below. So if 5 feet of 35mm equals about 20 feet of 16mm, then 100 ft.=5 rolls of 36-exposure 35mm film. Someone correct me if I'm wrong on this, but that's how I've always done the math. R. On Apr 28, 2013, at 2:44 PM, Ed Inman wrote: A 36-exposure roll of 35mm still film is about 5 feet long. If you equate that roughly as equal to 11 feet of 16mm film, a 100-foot roll of 16mm is similar in overall size to 9 rolls of 36-exposure 35mm. -Original Message- From: J Vent Sent: Apr 28, 2013 1:19 PM To: Frameworks Subject: [Frameworks] Footage equivalency Good morning - I have a Morse, well a Fairchild crank tank processor and a Lomo processor tank, I'm going to be processing with Arista E-6 in it, the chem usage/re-useage specs are for 36 exp 35mm film. Anyone have a clue about how many feet are in a 36 exp roll of 35 mm film? Directions say I can run 4 rolls in a pint of juice (x3 parts), 8 rolls in a quart. I'm trying to sort out how many feet of 7285 I can run in a given amount of chemistry. I guess I could run several 1 foot pieces in a scaled down amount of E-6 sauce until it breaks down but thought some one out there might have the answer and spare me that step. Thanks, JV ___ 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] Anyone else like me out there?
Hey Ian, glad to make your acquaintance, can you tell me some more about your optical printer gadgets? I'm looking for an animation stand solution for Bolex as well, for Alan Berliner type work, got any ideas? Also, what part of the world you in? JV On Sat, Mar 16, 2013 at 4:30 PM, Ian Wood catfishw...@hotmail.com wrote: Hello- Thanks for the post, it was nice to hear your thoughts. I am a film enthusiast as well, and I would also be interested in taking part in a community of likeminded artists. I also make abstract, visual films that my parents don't consider movies. I love Hans Richter, Maya Deren, and Man Ray films, among many others. I have a ton of gear, and I would like to make myself available as a resource for film-related tools, etc. With an engineer friend, I custom build film-related gear such as interval motors, upside-down tri-pods (for correcting 8mm-on-16mm 4-screen effect), external shutters, external scope lens gadgetry, matte box masks, frankenstein optical printer hybrids, etc., etc. If there is something anybody needs, I am sure I can help. I also collect 16mm films, and have amassed a large collection, including about 200 amateur home movies that I would love to archive someday. For a while now, I have been thinking about trying to start a film festival that is devoted to filmmakers who shoot and finish/present their films on celluloid. The Film-Only Film Festival, or something to that effect. There are, of course, already experimental film festivals out there, but I don't think there is anything that is specifically, 100% devoted to the medium of film, as in celluloid. Anyway, I think the idea could take off, and could help to provide a community that is supportive to artists who are committed to film. Maybe this could also help fill the void you are speaking of, and connect likeminded filmmakers together. It could also perhaps help to preserve the dying, medium of film - a worthy cause that I think a lot of people and institutions would be willing to help support. Anyway, if anyone thinks that this is an idea worth pursuing, I am open to collaborating, and building on the idea. Why not?! If we don't have a venue, I guess we'll just have to build one! -Ian Wood Filmmaker On Mar 16, 2013, at 3:54 PM, J Vent jvent.subscripti...@gmail.com wrote: You are not alone- I live in LA and feel the same isolation from time to time, being in the industry town is great for resources but thin on the experimental community experience. That said, we do have the Echo Park Film Center, Cinefamily and others here as centers of some activity. Milwaukee is a great experimental film town, UWM being the source of fresh talent. I'm restoring/putting together a JK 104 recently given to me, I'm all on board if you like to talk Op Printing. JV On Sat, Mar 16, 2013 at 12:32 PM, Doug Chaffin(Douglas Graves) dgtols...@yahoo.com wrote: As an isolated 16mm abstract moviemaker I'm very interested to know if there's anyone else like me around today? Specifically, is there anyone who works on photo-chemical celluloid motion picture film and makes any kind of formal aesthetic work that is either purely cinematic, abstract, or just generally lyrical and poetic, visually speaking? I'm 30 and I spent 3 years and 10,000 dollars making a really ambitious and stylized abstract 16mm movie called PALMS, it's a serious piece of work that I think is worthy of following in the tradition of what I feel are the truly great non-narrative cinematic artists such as Will Hindle, Ed Emshwiller, James Whitney, Pat O'Neill, Jordan Belson, Scott Bartlett, Bruce Baillie, Maya Deren, Slavko Vorkapich, and Dziga Vertov, among others. Are other people out there, particularly people younger than 50 and currently active, who are also passionate and excited by the work of all these great cinematic artists and are committed to working on celluloid? The last 3 years have been a struggle for me to make another movie and to get my 1st one even seen by anyone. and i also just haven't been able to find people who share my love of cinematic technique and will share it in any way, such as emailing or talking to each other about great shots and montages and optical techniques or sound design techniques in the brilliant movies by these artists. That kind of community and sharing is i feel necessary, even if only between a few people, and it's sad when we're so alone in our struggling and hard work. The only current 16mm moviemakers I know that are similar to me in any way are Timoleon Wilkins and Mark Toscano and they are unfortunately inaccessible for various reasons. I can't see their work or stay in touch with them as friends or even associates. Especially nowadays with all these faster, easier, and cheaper ways of communicating around the whole world such as the internet and cell phones, it's amazing how it seems like most people
Re: [Frameworks] Anyone else like me out there?
You are not alone- I live in LA and feel the same isolation from time to time, being in the industry town is great for resources but thin on the experimental community experience. That said, we do have the Echo Park Film Center, Cinefamily and others here as centers of some activity. Milwaukee is a great experimental film town, UWM being the source of fresh talent. I'm restoring/putting together a JK 104 recently given to me, I'm all on board if you like to talk Op Printing. JV On Sat, Mar 16, 2013 at 12:32 PM, Doug Chaffin(Douglas Graves) dgtols...@yahoo.com wrote: As an isolated 16mm abstract moviemaker I'm very interested to know if there's anyone else like me around today? Specifically, is there anyone who works on photo-chemical celluloid motion picture film and makes any kind of formal aesthetic work that is either purely cinematic, abstract, or just generally lyrical and poetic, visually speaking? I'm 30 and I spent 3 years and 10,000 dollars making a really ambitious and stylized abstract 16mm movie called PALMS, it's a serious piece of work that I think is worthy of following in the tradition of what I feel are the truly great non-narrative cinematic artists such as Will Hindle, Ed Emshwiller, James Whitney, Pat O'Neill, Jordan Belson, Scott Bartlett, Bruce Baillie, Maya Deren, Slavko Vorkapich, and Dziga Vertov, among others. Are other people out there, particularly people younger than 50 and currently active, who are also passionate and excited by the work of all these great cinematic artists and are committed to working on celluloid? The last 3 years have been a struggle for me to make another movie and to get my 1st one even seen by anyone. and i also just haven't been able to find people who share my love of cinematic technique and will share it in any way, such as emailing or talking to each other about great shots and montages and optical techniques or sound design techniques in the brilliant movies by these artists. That kind of community and sharing is i feel necessary, even if only between a few people, and it's sad when we're so alone in our struggling and hard work. The only current 16mm moviemakers I know that are similar to me in any way are Timoleon Wilkins and Mark Toscano and they are unfortunately inaccessible for various reasons. I can't see their work or stay in touch with them as friends or even associates. Especially nowadays with all these faster, easier, and cheaper ways of communicating around the whole world such as the internet and cell phones, it's amazing how it seems like most people are if anything more reluctant and difficult about staying in touch and enjoying community and fellowship. I know that maybe there are some really great cinematic-celluloid artists working today out there who just make their work for themselves and don't really show it and don't desire to know other cinema enthusiasts. In a way I can understand wanting to be like that and maybe nowadays it's the only way to be. I might get like that too but right now I would welcome the interest and association of serious people whom love what I love and, as my mentor the great Bruce Baillie would say, want to be human to each other about it. ** ** *Doug Graves* * * *4636 Talbot Drive* *Boulder, CO 80303 * * * *702-580-4293* *PURE CINEMA CELLULOID* *http://www.purecinemacelluloid.webstarts.com/*http://www.purecinemacelluloid.webstarts.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] recommendations for a reading on documentary technique
I found this to be informative. JV http://www.amazon.com/Direct-Cinema-David-Albert-Maysles/dp/0809326434 On Fri, Mar 15, 2013 at 11:21 PM, David Han d...@yorku.ca wrote: Just thought I'd pick the collective brain here and see what all your lovely minds would recommend in terms of a reading that discusses approaches to documentary filmmaking from a production standpoint. Thanks! David Han ___ 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] fast film
Good Morning- According to Kodak they no longer make anything over Vision 3 500T asa rating and have not for some time now. Long gone are the days when Kodak would/could reformulate almost any of their stocks past or present for an extra fee. http://motion.kodak.com/motion/Products/Production/index.htm All of the stocks listed on the above link are available with the exception of Color Reversal 7285 which was removed from production in Dec/Jan. Since the vision 3 emulsion is so forgiving they rated it down from 800 to 500, this info from the Hollywood Kodak Student rep. The film can easily be re rated at 800 or 1000 asa, however beyond that there will be a noticeable increase in grain, particularly in the shadow areas. This emulsion holds its highlights exceedingly well but by rating it 2 or more stops over you will degrade the shadow or underexposed areas. This may not be an issue for your project, and certainly you can alter the result with lab work as suggested above. Vision 3 works especially well when rated down to 250, for a stop of overexposure, this technique provides superior results and is used exclusively on my Cinematography lab students projects. One light work prints come out nice with this technique. JV On Mon, Mar 11, 2013 at 5:25 AM, Raymond Rea prodc...@gmail.com wrote: I do miss the brief time period when Kodak made 800T. I shot a roll on a back porch with one 100W bare light bulb as illumination (existing light). Not only did highlights expose well but I got some subtle detail in the shadows (no change in contrast as with pushing). Ray -- Message: 1 Date: Sun, 10 Mar 2013 09:46:15 -0700 (PDT) From: Jason Halprin jihalp...@yahoo.com To: Experimental Film Discussion List frameworks@jonasmekasfilms.com Subject: Re: [Frameworks] fast film Message-ID: 1362933975.44852.yahoomail...@web122103.mail.ne1.yahoo.com Content-Type: text/plain; charset=utf-8 No 800 speed color neg film has been made by Kodak for some time. And, as was pointed out, Fuji stopped manufacturing all motion picture film. I second Nicky's sentiment - rate Vision3 500T at 1000 or even 2000, and then have it pushed a stop or two. Or, shoot it at 500, and just have the print/transfer brightened. It has a huge latitude and can handle it. -Jason From: Nicholas Hamlyn nicky.ham...@talktalk.net To: Experimental Film Discussion List frameworks@jonasmekasfilms.com Sent: Sunday, March 10, 2013 6:38 AM Subject: Re: [Frameworks] fast film Why don't you push the 500 a stop or two? Nicky. On 10 Mar 2013, at 09:42, J Vent wrote: No - 500T is the fastest speed motion picture film made by Kodak at this time. Fuji has ceased production of motion picture film. Vision 3 500T is very forgiving it can easily be rated at 250 to give one stop of over exposure. What is your intent with a higher speed emulsion? JV Black Metal relaxes me Roy Griffin '13 On Sat, Mar 9, 2013 at 9:54 PM, matthew brown matthewfrancisbr...@gmail.com wrote: Hi, I have looked at both the Kodak and Fuji Websites and only see 500 speed film. Is there anywhere I can get color negative faster than that anymore??? thanks so much, Matthew Brown ___ ___ 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] fast film
No - 500T is the fastest speed motion picture film made by Kodak at this time. Fuji has ceased production of motion picture film. Vision 3 500T is very forgiving it can easily be rated at 250 to give one stop of over exposure. What is your intent with a higher speed emulsion? JV Black Metal relaxes me Roy Griffin '13 On Sat, Mar 9, 2013 at 9:54 PM, matthew brown matthewfrancisbr...@gmail.com wrote: Hi, I have looked at both the Kodak and Fuji Websites and only see 500 speed film. Is there anywhere I can get color negative faster than that anymore??? thanks so much, Matthew Brown ___ 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] drugged
Certainly there are the bits with the high on speed/acid/booze Hells Angels and others (hanging about on stage, before the murder,) from the Maysles film Gimme Shelter and though not a psychedelic drug film, there are few films that are druggier than Requiem for a Dream and I guess Drugstore Cowboy might be considered in that way too. Oh, and then of course there is the more recent A Scanner Darkly. Puff N Stuff has been mentioned so I'll include my reference to the Mr. Show episode that puts the Sid and Marty Croft man in a suit Saturday morning kids shows into a proper context, i.e., Lidsville, Sigmond and the Sea Monster, etcsupper druggy and funny. If your looking for more transgressive depictions of drug/underground culture then look into the films of Richard Kern and the other Transgressive filmmakers, Right Side of My Brain and others from his canon might help. others: Rivers Edge - weed/booze/speed/narcotics Quadrophenia - speed/booze/weed Dogstar Man certainly looks druggy What We Do is Secret - Germs/Darby Crash biopic heroin/speed/weed/booze Sid and Nancy - you name it Martin - vampirism as drug addiction - George Romero Addiction (also vampirism as drug addiction) , Bad Lieutenant - Abel Ferrara Loads of goofy getting it ridiculously wrong drug stuff in the old cop show Adam-12. Thats a pretty disparate group I've listed but hope it helps in some way. Joe V. On Sun, Feb 10, 2013 at 10:23 AM, Watter, Seth seth_wat...@brown.eduwrote: Ken Russell's Altered States: William Hurt tripping in the desert with natives. Seth On Sunday, February 10, 2013, Francisco Torres wrote: Back in the late 60s/ early 70s most TV cop shows included a trip sequence. The trend culminated with The French Connection 2 infamous heroin room. Most of those trips were more funny than scary Some TV series were a trip like Land of the Giants and Puff N Stuff (Which we 5th graders used to call Puffing stuff back in 72). Nixon TV press conferences were also quite trippy. ___ 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] drugged
Don't forget to look at things like Cheech and Chong flicks, and other comedies in this vein, Dazed and Confused, (loosely) Donny Darko, etc. ok I'm done. JV On Sun, Feb 10, 2013 at 12:32 PM, J Vent jvent.subscripti...@gmail.comwrote: Certainly there are the bits with the high on speed/acid/booze Hells Angels and others (hanging about on stage, before the murder,) from the Maysles film Gimme Shelter and though not a psychedelic drug film, there are few films that are druggier than Requiem for a Dream and I guess Drugstore Cowboy might be considered in that way too. Oh, and then of course there is the more recent A Scanner Darkly. Puff N Stuff has been mentioned so I'll include my reference to the Mr. Show episode that puts the Sid and Marty Croft man in a suit Saturday morning kids shows into a proper context, i.e., Lidsville, Sigmond and the Sea Monster, etcsupper druggy and funny. If your looking for more transgressive depictions of drug/underground culture then look into the films of Richard Kern and the other Transgressive filmmakers, Right Side of My Brain and others from his canon might help. others: Rivers Edge - weed/booze/speed/narcotics Quadrophenia - speed/booze/weed Dogstar Man certainly looks druggy What We Do is Secret - Germs/Darby Crash biopic heroin/speed/weed/booze Sid and Nancy - you name it Martin - vampirism as drug addiction - George Romero Addiction (also vampirism as drug addiction) , Bad Lieutenant - Abel Ferrara Loads of goofy getting it ridiculously wrong drug stuff in the old cop show Adam-12. Thats a pretty disparate group I've listed but hope it helps in some way. Joe V. On Sun, Feb 10, 2013 at 10:23 AM, Watter, Seth seth_wat...@brown.eduwrote: Ken Russell's Altered States: William Hurt tripping in the desert with natives. Seth On Sunday, February 10, 2013, Francisco Torres wrote: Back in the late 60s/ early 70s most TV cop shows included a trip sequence. The trend culminated with The French Connection 2 infamous heroin room. Most of those trips were more funny than scary Some TV series were a trip like Land of the Giants and Puff N Stuff (Which we 5th graders used to call Puffing stuff back in 72). Nixon TV press conferences were also quite trippy. ___ 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] Labs and processing
In Los Angeles Fotokem can and does do most anything with film processes. Yale Film and Video is also a quality lab, they do super 8 and reg 8 too, as well both can do telecine/scanning at various resolutions. Both are in Burbank Calif. and prices are as fair as you will likely find as they both serve the greater Los Angeles production industry. Also, Fuji is still making archival and print stocks if I am not mistaken. Best, Joe Ventress TVFT MFA 2013 Cinematography T.A. TVF 492B, 397, TVFT 535 ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
[Frameworks] Optical printer
Hello- I'm new to the list, I'm looking for an optical printer, JK/Bolex type, in the greater So Cal region. Have experience on the thing from my time as an undergrad at UW-Milwaukee. I need to do some 16mm work for my thesis film. Any leads to loans, barters, rentals, or potential purchases of a JK would be most helpful; unfortunately I can't afford a new one from JK. I'm in Los Angeles studying at (CSULA MFA in TVFT) Thanks, JV ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Hand Processing using D-76 for Tri-x (Reversal) 7266
Try these threads, very useful info. General: http://www.oocities.org/gselinsky/ http://www.oocities.org/gselinsky/FAQ.htm http://www.oocities.org/gselinsky/FAQ.htm#9a This one has a two part bleach recipe and uses D-19 as a substitute for D-76 http://www.cinematography.com/index.php?showtopic=39060 This one discusses using HC-110 or TMAX processing. http://www.cinematography.com/index.php?showtopic=51904 Good luck. JV On Mon, Dec 10, 2012 at 2:57 PM, Kevin Timmins on-on...@hotmail.com wrote: Hi Paolo, Why not make some D-19 up yourself with raw chemicals? All you need is metol, sodium sulphite, hydroquinone, sodium carbonate and potassium bromide. Get the Darkroom Cookbook. Recipe is in there. Best Kevin -- Date: Mon, 10 Dec 2012 13:34:52 -0800 From: i...@echoparkfilmcenter.org To: frameworks@jonasmekasfilms.com Subject: [Frameworks] Hand Processing using D-76 for Tri-x (Reversal) 7266 Hello there. My name is Paolo Davanzo and I work at the Echo Park Film Center. We are going to Vietnam to teach a film class and will be doing hand processing of BW Super 8 film. Normally we use D-19 but they tell us there is none to be found in Hanoi. But they have D-76. Does anybody have a good and effective recipe for processing Tri-X (7266) as reversal not negative using D-76? We are doing some tests tonight but I just wanted to get a good starting point. Thanks, Paolo ___ 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
