[Frameworks] LIFT CALL FOR SUBMISSIONS: INTERNATIONAL ARTIST RESIDENCIES 2016/2017
We've just posted this year's call for international artist residents... best Chris --- March 10, 2016The Liaison of Independent Filmmakers of Toronto (LIFT) is seeking applications from international (non-Canadian Citizens and Residents) artists for a 4 6 week individual production residencies to take place between October 2016 and August 2017. LIFT is an artist-run production and educational media arts organization dedicated to celebrating excellence in the moving image. We support a wide range of production formats including Regular 8mm, Super 8mm, 16mm, Super 16mm, 35mm and HD; film and digital editing; optical printers; contact printers; animation stands; a darkroom and more. Toronto also offers a range of lab facilities, a large pool of experienced technicians and talent, a vibrant film community and a dynamic arts environment. LIFTs residency program focuses on the production of film-based works with equipment and facilities to which the artist would not have access to in their local region. Artists are expected to be at an established point in their practice (although not necessarily working predominantly with film). Applicants must also consider what they would bring to Toronto in terms of community collaboration, teaching workshops, artist talks and/or presentation activitiesthese engagements are a critical and required part of each residency offered by LIFT. Note that your proposed film project does not have to be Toronto specific, but you should think of what you can offer to the community while you are in town working on your own film. This is a important part of the application. There are two streams: STREAM 1 - FULL LIFT SUPPORT: Applicants requiring financial support, this is the more competitive application and is a two-step process. LIFT selects three proposals per year and applies for funding through a Canadian granting body. Accepted projects are contingent on positive funding results from that funding agency. The maximum cash funding for projects is $3,000 (CAD) for travel, accommodation and per diems. Equipment and facilities will be provided by LIFT to a maximum value of $3,000 (CAD), LIFT equipment rates can be found at www.lift.ca. The artist is responsible for the costs of all film stock, chemicals, lab fees and other expendables. Stream 1 proposals are submitted on the understanding that the projects execution is contingent on funding yet to be secured. STREAM 2 - SELF-FUNDED VISITING ARTIST: Self-funded projects that require only services from LIFT (We are able to provide 50% off the rental of our equipment and facilities, up to $3,000 CAD in-kind maximum). If you are able to travel to Toronto on your own accord, please send us a description of what work you intend to do and we will weigh that with our mandate and in relation to other submissions. If selected, we are happy to write a letter of support for any grant application you will require and suggest possible accommodations. For this stream, the artist is responsible for the costs of travel, accommodations, film stock, chemicals, lab fees and other expendables, plus a $25/month (CAD) international membership fee for the time spent at LIFT. Due to the demand of the residency program, self-funded enquiries after the April 8, 2016 application date are welcome, but we are unable to offer a discount on equipment and facilities. Please apply by Friday, April 8, 2016 to access the 50% reduction. Interested artists should submit proposals, including: 1. Indicate which stream you are applying for: Full LIFT Support or Self-Funded. 2. Proposal and Artist Statement (including how you intend to engage the local Toronto community during your stay and what LIFT can offer you that is not available in your home location) 3. Please note how you heard about LIFTs Visiting Artist Residency 4. Curriculum vitae 5. Proposed budget (including funding sources for materials (Stream 1 and 2) and travel and accommodation (Stream 2). 6. Visual support material of past work (do not send originals, documentation will not be returned). Accepted formats: URL Links or DVDs (NTSC) Submissions must be received no later than Friday, April 8, 2016. Email submissions are preferred. Email applications to submissions(at)lift.on.ca Subject Heading: LIFT International Artist Residency 2016/17 Submission Mail applications to: International Artist Residencies 2016/17 Application c/o Liaison of Independent Filmmakers of Toronto (LIFT) 1137 Dupont Street Toronto, Ontario M6H 2A3 CANADA Questions to: Executive Director Chris Kennedy at submissions(at)lift.on.ca Subject Heading: LIFT International Artist Residencies 2016/17 ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
[Frameworks] Niagara Custom Lab job opening: Front End Manager
NIAGARA CUSTOM LAB JOB OPENING: FRONT END MANAGER Toronto, Canada Niagara Custom Lab is a full service motion picture film laboratory, one of the last of a rare breed that focuses on providing the most complete and diverse post-production services available. Our goal is to provide these important services to anyone interested in shooting or working with motion picture film by preserving and maintaining it as an active artistic medium. Currently we process and print every supported motion picture stock available, plus many recently discontinued stocks. We meet industry set standards, as well as push the limits of the medium with alternative methods to provide the best results for our clients work. We are a small group of passionate artisans who are continuously improving and exploring the boundaries of what a film laboratory can be, the possibilities are endless. The Front End Manager is in charge of the front office and is the primary contact person for clients, handling all client project workflow scheduling. The Front End Manager cleans and preps processed films for printing and transfer. This position is also responsible for all social media, film store, supplies, and shipping and receiving. Requirements: - Knowledge of motion picture laboratory processes - Experience handling 35mm, 16mm, Super 8, Regular 8, and Double 8 film - Excellent working knowledge of motion picture film stocks - Excellent customer service - Office management skills - Organizational and time management skills - Ability to meet strict deadlines - High attention to detail Position will be part-time to start with the possibility of moving to full-time in the new year. Interested applicants please send cover letter and resume to i...@niagaracustomlab.com Deadline: Thursday, October 29, 2015 at 5:00pm Niagara Custom Lab 182A St. Helens Avenue Toronto, Ontario M6H 4A1 http://www.niagaracustomlab.com ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Double 8mm
This is likely the ORWO stock that John Schwind repurposed as Cine-X. It should be able to be processed just fine by any lab that still does black and white reversal. Niagara Custom Lab or Cinelab are two possibilities. And just ask them not to slit it (don't know if Cinelab would anyway, Niagara does have the slitter). best Chris > Hello fellow Frameworkers, > > I know that questions like this come up from time to time on this list, > but Iâve searched around on the archive and canât find anything > exactly on point, so⦠> > I have four 25-foot rolls of CINE-X B reversal double-8mm film and I > want to shoot them. Who still processes this stuff? Itâs not clear from > Dwayneâs website if they do. Suggestions? If anyone out there in > frameworks land wants to hand/DIY process these for me at a reasonable > price, contact me! > > Thanks in advance and all best, > Jonathan âbored film studies prof. who wants to make a movie (sort > of)â Walley > > > Dr. Jonathan Walley > Associate Professor and Chair > Department of Cinema > Denison University > wall...@denison.edu > > > ___ > 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] Shooting Super 16 but composing for regular
Jodei I've often wonder with shooting super 16 to create a soundtrack whether the frameline creates an audible and constant frequency. Do you find that to happen? best Chris > Hi Adam, > > I'm not sure if this will be useful for your shooting conditions. But, > when making optical sound films, I generally use a video tap and draw out > the reg 16mm specs on the TV screen with a dry erase marker. I measure the > dimensions of the frame on the screen and then size a 16mm animation field > guide accordingly. Then, I print out the re-sized field guide and x-acto > the borders and center so I can use the print out as a stencil to mark the > screen. This gives me a rough measurement of the frame size and center on > the screen (as well as the soundtrack area). You could also purchase one > of the transparent plastic 4x3 field guides, adhere to a piece of plexi, > attach the plexi to a C-Stand, and frame up with the animation field guide > (left, top, and bottom matching as well as possible). > > Best, > > JM > >> From: j...@kinetta.com >> Date: Sun, 11 Oct 2015 09:10:29 +0900 >> To: frameworks@jonasmekasfilms.com >> Subject: Re: [Frameworks] Shooting Super 16 but composing for regular >> >> Remember that any zoom will be off center unless the lens mount is >> centered for 16 mm. Also note that wider angle lenses may not fully >> cover the S16 frame, especially if not centered on it. >> >> You probably could buy an Aaton LTR7 or 54 pretty cheaply that would do >> what you need. If eBay scares you there are a few honest dealers like >> Visual Products who offer a 6 month warranty. Older Aatons are fine for >> your needs. >> >> Jeff Kreines >> Kinetta >> j...@kinetta.com >> kinetta.com >> >> > On Oct 10, 2015, at 11:04 PM, ada...@gmail.com wrote: >> > >> > To answer Jason's question - >> > >> > I'm shooting super 16 as I want the image to fall onto the optical >> track, but I'm composing for 16mm as the aim is to produce a print >> using that excess image as sound. However, I do need to be able to >> pretty accurately center what I'm shooting for 1.37:1. >> > >> > A couple of people asked what camera I'm using-I'm really looking for >> the right camera for this project. It seems like an Aaton might be a >> good candidate from what I can tell. >> > ___ >> > 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
[Frameworks] Filmmaking workshops
For those of you close to Toronto or willing to make the trek (we greeted a workshop participant from San Diego this summer!), LIFT's Fall 2015 Filmmaking Workshops schedule is now online at http://lift.ca/workshops Registration opens Tue Sep 22 Workshops range from digital to celluloid. Notable celluloid workshops include: Bolex, Super 8, Optical Printing with Oxberry 1700, Hand Processing Color and Hand Processing Workshops. enjoy Chris ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Andrew Noren
I can understand that. There was a moment in the early 2000s when Susan Oxtoby brought some of his films (and him) to Toronto over the course of a few years. I likely saw about 4 or 5 of his films over that period and still think of them often. A quick description --- rich high-contrast imagery, long point-of-view shots down pathways and evocative time lapses of domestic spaces -- doesn't do them justice; there was something especially stunning about the experience. Chris Those of us who were there at the time can recall the excitement when a new film by Andrew was released. We anticipated them almost like we did the next Brakhage or Godard. ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Andrew Noren
The fact that Noren was an archivist by trade gives hope to the fact that his elements are probably thoughtfully stored somewhere (at least the ones that weren't destroyed in an early fire, if I remember correctly) and would be eventually available for preservation. C When I first walked into the Sherman Grinberg Film Library in the old Film Center Building at 630 9th Avenue in the fall of 1983, I was quite surprised when I was introduced to Andrew Noren, one of the librarians in that strange place. I couldn't quite put together my emerging life as a business-focused archival film researcher with my past watching ag/experimental films under semi-utopian conditions in California, but Andrew confirmed that he was indeed the filmmaker whose work had left such a strong impression before going into the vaults to pick out a few cans of nitrate neg for me to put on the Moviola flatbed. I recall that he pulled the Paramount newsreel neg for me showing Fiorello LaGuardia reading the comics over the radio during the 1945 newspaper strike. In retrospect I can see how working with nitrate in his day job may have influenced his sensibility. Rick Rick Prelinger / @footage Prelinger Archives, San Franciscohttp://www.prelinger.com foot...@panix.com Associate Professor, Film Digital Media, UC Santa Cruz r...@ucsc.edu Prelinger Library (http://www.prelingerlibrary.org), a member of the Intersection Incubator, a program of Intersection for the Arts providing fiscal sponsorship, incubation and consulting to artists (http://www.theintersection.org). ___ 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] Is there any editing pattern on Critical Mass by Hollis Frampton?
Barbara Lattanzi created a software that mimicked the editing structure of Critical Mass: http://www.wildernesspuppets.net/yarns/hfcriticalmass/main.html I'm not sure if she based in on the actual source code of the original film or just made a representation of the experience. C Watching the film one could assumed Frampton followed a random process but i'm not sure about it. It's not random at all. IIRC, both the length of all the cuts and the advance between cuts are numbers of frames with some 'significance', e.g. I think the shots may all be ~ 40 frames / 1 foot. Frampton worked with algorithms, not randomness, but as a form of 'poetry'. Thus, a certain percentage of the 'art' is rooted in the nature of the algorithm, which is derived in part from certain non-obvious poetic associations... ... For another example: I can't recall reading anything about (nostalgia) that references the length of the shots. So one time I screened it for class, I timed them roughly with simple stopwatch. My conclusion: each shot is a 100 ft. load (I didn't examine close enough to see if they were loaded on daylight spools, with the light leaks at the ends then cut off, or loaded/unloaded on cores in absolute darkness minus just threading leader, etc.). This is not only a sort of obvious and convenient practical way to do the film, it also has resonances with the subject matter of Frampton giving up one art form and adopting another, memory and loss, etc. The prints burn on the hotplate until the film runs out. Any camera only holds so much, for so long. Etc. ... Also of note: working by hand in 'analog' media, Frampton was not ultra-picky about hitting any of his patterns EXACTLY all the time. Things will be off a frame or two here or there (and no matter how you load them, different 100 ft. loads of 16mm stock will yield slightly different lengths of usable footage). Apparently, this was not just the result of pragmatic 'accident' either, and Frampton introduced some of the minute deviations intentionally, perhaps keeping his 'human' hand in the game (?). ___ 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] Is there any editing pattern on Critical Mass by Hollis Frampton?
Barbara Lattanzi created a software that mimicked the editing structure of Critical Mass: http://www.wildernesspuppets.net/yarns/hfcriticalmass/main.html I'm not sure if she based in on the actual source code of the original film or just made a representation of the experience. C Watching the film one could assumed Frampton followed a random process but i'm not sure about it. It's not random at all. IIRC, both the length of all the cuts and the advance between cuts are numbers of frames with some 'significance', e.g. I think the shots may all be ~ 40 frames / 1 foot. Frampton worked with algorithms, not randomness, but as a form of 'poetry'. Thus, a certain percentage of the 'art' is rooted in the nature of the algorithm, which is derived in part from certain non-obvious poetic associations... ... For another example: I can't recall reading anything about (nostalgia) that references the length of the shots. So one time I screened it for class, I timed them roughly with simple stopwatch. My conclusion: each shot is a 100 ft. load (I didn't examine close enough to see if they were loaded on daylight spools, with the light leaks at the ends then cut off, or loaded/unloaded on cores in absolute darkness minus just threading leader, etc.). This is not only a sort of obvious and convenient practical way to do the film, it also has resonances with the subject matter of Frampton giving up one art form and adopting another, memory and loss, etc. The prints burn on the hotplate until the film runs out. Any camera only holds so much, for so long. Etc. ... Also of note: working by hand in 'analog' media, Frampton was not ultra-picky about hitting any of his patterns EXACTLY all the time. Things will be off a frame or two here or there (and no matter how you load them, different 100 ft. loads of 16mm stock will yield slightly different lengths of usable footage). Apparently, this was not just the result of pragmatic 'accident' either, and Frampton introduced some of the minute deviations intentionally, perhaps keeping his 'human' hand in the game (?). ___ 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] Etiquette
But that might temper my anger! Fight all you want, but please trim your posts down to the essential parts. Repeated quoting of entire digests and/or threads makes the list unreadable, especially for those of us receiving it in digest form. Best Bill Seery b...@mercermedia.com 212.627.8070 ___ 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] 2. Re: What are the 3 Essential Films that you would show Artists on their first foray into the Moving Image Realm ?
It did strike me as odd that very few people mentioned anything recent. From the context described it would seem that you would want to show work that could inspire people to immediately do and sometimes that's a more contemporary film. Two good filmmakers for that kind of inspiration, from a film perspective, are Ute Aurand and Helga Faenderl--for camerawork, editing in camera and (for Ute) editing. It really depends on how fast you want to get to the makin' stage. On the flip, I think its tricky to rely on contemporary work to show the way. I have students react very badly to work from the 90s that I loved but didn't age well, while they were totally taken with that mid-century modernism crap (wavelength, nostalgia et al.). They much preferred watching Katzelmacher to Wall-E (which is what another teacher was showing them). I think its really what you stand behind as a teacher and are able to lead them through that's important--use-value above connection. Two years ago, students couldn't stand a guy called Ryan Trecartin. Go figure. Chris Go Sasha! On Sun, Mar 29, 2015 at 12:56 PM, Gene Youngblood ato...@comcast.net wrote: The original question is so absurd that I almost didnât respond, but i did, only to make the point that, within such a restricted frame, you donât start with specific films, you start with possibilities: Isnât it exciting that you can make an âabstractâ work, or a minimal one, or you can compose an essay? What do those words mean? How have artists interpreted them? And isnât it exciting that you can combine all of them, which is the thin edge of the interventionist wedge today. Another point: mid-century isnât synonymous with Modernism; itâs simply when the new American cinema began in full force. I showed Wavelength and Nostalgia for 38 years, in both fine arts and mainstream contexts, and never once did my students, as a group, âwant to kill themselves.â No one who is truly âcuriousâ and âexcitedâ would have such a response. Itâs an admission of failure (if not laziness, cowardice or outright betrayal) as a teacher. Your responsibility is to make them curious, to make them excited. Out of 60 students every semester from the late 90s on, I could count on at least 10 percent of them writing term papers on one or both of those films, and these were people who thought Spielberg is a genius. On Mar 29, 2015, at 9:37 AM, Andy Ditzler a...@andyditzler.com wrote: Without getting into questions of essential, I would say that this is not my experience at all with screening Wavelength. My students - definitely curious and excited people - generally loved watching it, and there was much productive discussion. I've also shown it publicly in my film series on several occasions, again with good results and much discussion afterward (though of course the reactions were not uniformly positive). You see it as mid-century high modernism (thus presumably representing a fixed, major tradition), whereas I see it as a film particularly vulnerable to attacks based precisely upon its *difference*, which is perhaps one reason I'm sympathetic to it. In any case, there's no reason that screenings of this film cannot be deeply sensuous and engaging experiences, especially for artists. Best, Andy Ditzler On Sun, Mar 29, 2015 at 9:11 AM, Sasha Waters Freyer swfre...@vcu.edu wrote: If you want to take a group of curious, excited young artists and basically make them want to kill themselves, by all means, show them Wavelength. I call shenanigans on equating essential with mid-century high modernism which is but one of many 'major traditions.' Another, more engaging legacy might be the fascinating intersections between art history, critical theory, politics and popular culture that coalesces and build in the '90-s and early 00s, exemplified in different but totally exciting and unique ways by: It Wasn't Love - Sadie Benning November - Hito Steyerl A Little Death - Sam Taylor-Wood So much richness here! Relationships between realism and (high/post) modernism; identity/queer performance pre-youtube/selfie era; the explosion of new tech in the 90s on and their formal implications; post-9/11 everything; the 'Celebrity-artist' career trajectory of STW, etc., etc, etc Sasha -- â¡â¡â¡â¡â¡â¡â¡â¡â¡â¡â¡â¡â¡â¡â¡â¡â¡â¡â¡â¡â¡â¡â¡â¡â¡â¡â¡â¡â¡â¡â¡â¡â¡â¡â¡â¡â¡â¡â¡â¡â¡â¡â¡â¡â¡â¡â¡â¡â¡â¡â¡ Sasha Waters Freyer Chair, Department of Photography Film VCU School of the Arts 325 N. Harrison St. / PO Box 843088 Richmond, VA 23284 tel. 804.828.2162 email: swfre...@vcu.edu http://www.arts.vcu.edu/photofilm/ ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks -- Andy Ditzler www.filmlove.org www.johnq.org Graduate
Re: [Frameworks] Film screening event this Sunday of 16mm prints Gordon Matta-Clark
Having rented a couple of these prints before, I can attest to how beautiful the they look. Fresh Kill, especially, is a real visual stunner. Chris I'd like to promote an event I'm putting on as a fundraiser for the project, E.S.P. TV with a mobile broadcast tour of the US. The event is : The Estate of Gordon Matta-Clark cordially host A Fundraising event for E.S.P. TV https://www.facebook.com/esptv Four Films by Gordon Matta-Clark restored 16mm prints Fire child 1971, 9:47 min, color, silent, super 8mm transferred to 16mm Fresh Kill, 1972, 12:56 min, color, sound, 16mm Clockshower 1973, 13:50 min, color, silent, 16mm City Slivers 1976 15min, color, silent, super 8mm transferred to 16mm TRT 51 min approx QA with Jessamyn Fiore https://www.facebook.com/jessamyn.fiore, Co-Director of the Estate of Gordon Matta-Clark ; Rachael Rakes https://www.facebook.com/RachaelRakes, Film Editor, The Brooklyn Rail and Programer at Large, The Film Society Lincoln Center ; and Rebecca Cleman https://www.facebook.com/rebecca.cleman, Distribution Director, Electronic Arts Intermix. QA will be recorded for Clocktower Radio broadcast. Cash bar with signature cocktails. RSVP : Vkeddie at gmail.com http://l.facebook.com/l.php?u=http%3A%2F%2Fgmail.com%2Fh=QAQE3u0VDenc=AZOBEnG3d3L8HRQj7g5c4REnvcOI_4Zcr7uz4I-5qF43moI9gdmLST19OEH9ibPsSkos=1 RSVP $10 / Door charge $12 97 Green st, g14, Brooklyn NY 11222 -- VICTORIA KEDDIE 97 Green St #G14, Brooklyn NY 11222+1 646.684.5494 www.victoriakeddie.com www.a-section.com www.esptv.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] LIFT International Artist Residency application due April 1
LIFT in Toronto has opened our call for international artists who wish to use our film facilities. Info is here: http://lift.ca/programming/call-submissions-international-artist-residencies-20152016 In the past two years, we've had OJOBOCA, Anne Maree Barry, Pablo Marin, Dirk De Bruyn, Kate Ewald, Meg Rorison, Steve Cossman, Julie Murray, Mary Stark, Mary Helena Clark, Kerstin Schroedinger and Claudio Caldini (and probably someone I'm missing) all come by for a visit and to work on their films. Get in touch! Chris -- Chris Kennedy - Executive Director Liaison of Independent Filmmakers of Toronto (LIFT) 1137 Dupont Street, Toronto, Ontario, M6H 2A3 Tel: 416.588.6444 Fax: 416.588.7017 Web: www.lift.ca Charitable # 125986406RR0001 Donate via CanadaHelps.org ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Super 8 to 35mm Optical Blowup
And as for 35 outlasting 16, we've seen where that's gone - only a handful of devoted cinephiliac venues and museums can handle 35mm now, and a lot of those handle 16mm too. Thanks Mark. That's my feeling, too. Just wanted to make sure you didn't have some other observations that I was missing out on. Thanks for the developed explanation! best Chris ___ 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] American Indian and Indigenous experimental filmmakers
The link says Peter Adair worked on this project, but the book about the project is written by Sol Worth and John Adair. Was Peter Adair (of Holy Ghost People and Word is Out fame) actually involved in this project? Is there a relation? C That¹s the program! A pretty essential screening to include. It ran at UCLA as well in October. https://www.cinema.ucla.edu/events/2014/10/25/navajo-film-themselves-1966 On 3/5/15 7:31 AM, Gawthrop, Rob rob.gawth...@falmouth.ac.uk wrote: Navajo Film Themselves http://www.penn.museum/sites/navajofilmthemselves/ https://www.youtube.com/watch?v=FWMO2UGfaBI Rob From: Nate Cummings ncummingslamb...@gmail.com Reply-To: Experimental Film Discussion List frameworks@jonasmekasfilms.com Date: Thursday, 5 March 2015 03:02 To: Experimental Film Discussion List frameworks@jonasmekasfilms.com Subject: [Frameworks] American Indian and Indigenous experimental filmmakers Dear Frameworkers, A small group of students and alumni are programing an American Indian and Indigenous film screening series at CalArts for the end of the month. This will be a week long event from March 30th to April 3rd. I'm reaching out to all of you for suggestions as we finalize our programming in the next coming weeks. The program covers a range of forms and techniques and any suggestions will be appreciated and looked at. We are specifically looking for work made by American Indian and Indigenous peoples, not simply about. Programs will be arranged around such topics as: The Construction of Knowledge in Ethnographic Film Practices The Preservation and Conservation of Indigenous Land and Rights Contemporary Indigenous Art and Crafts Personal Narratives and Histories on the Reservation. As the event draws closer I'll send out the program details for those interested in the Southern California and Los Angeles area. Thank you for any help and suggestions. Best, Nate Cummings-Lambert (Eastern Band of Cherokee Indians) http://www.falmouth.ac.uk/ https://www.facebook.com/falmouthuni http://twitter.com/falmouthuni http://www.youtube.com/falmouthuniversity http://pinterest.com/falmouthuni http://www.falmouth.ac.uk/content/falmouth-leaps-26-places-sunday-times-leagu e-table This email is confidential and intended solely for the use of the intended recipient only. If you have received this email in error, please inform us immediately and then delete it. ___ 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] American Indian and Indigenous experimental filmmakers
The link says Peter Adair worked on this project, but the book about the project is written by Sol Worth and John Adair. Was Peter Adair (of Holy Ghost People and Word is Out fame) actually involved in this project? Is there a relation? C That¹s the program! A pretty essential screening to include. It ran at UCLA as well in October. https://www.cinema.ucla.edu/events/2014/10/25/navajo-film-themselves-1966 On 3/5/15 7:31 AM, Gawthrop, Rob rob.gawth...@falmouth.ac.uk wrote: Navajo Film Themselves http://www.penn.museum/sites/navajofilmthemselves/ https://www.youtube.com/watch?v=FWMO2UGfaBI Rob From: Nate Cummings ncummingslamb...@gmail.com Reply-To: Experimental Film Discussion List frameworks@jonasmekasfilms.com Date: Thursday, 5 March 2015 03:02 To: Experimental Film Discussion List frameworks@jonasmekasfilms.com Subject: [Frameworks] American Indian and Indigenous experimental filmmakers Dear Frameworkers, A small group of students and alumni are programing an American Indian and Indigenous film screening series at CalArts for the end of the month. This will be a week long event from March 30th to April 3rd. I'm reaching out to all of you for suggestions as we finalize our programming in the next coming weeks. The program covers a range of forms and techniques and any suggestions will be appreciated and looked at. We are specifically looking for work made by American Indian and Indigenous peoples, not simply about. Programs will be arranged around such topics as: The Construction of Knowledge in Ethnographic Film Practices The Preservation and Conservation of Indigenous Land and Rights Contemporary Indigenous Art and Crafts Personal Narratives and Histories on the Reservation. As the event draws closer I'll send out the program details for those interested in the Southern California and Los Angeles area. Thank you for any help and suggestions. Best, Nate Cummings-Lambert (Eastern Band of Cherokee Indians) http://www.falmouth.ac.uk/ https://www.facebook.com/falmouthuni http://twitter.com/falmouthuni http://www.youtube.com/falmout ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] American Indian and Indigenous experimental filmmakers
Vtape in Toronto distributes a wide variety for First Nation and Indigenous video artists and filmmakers. Clicking the aboriginal button in their advanced search option brings up 468 titles: http://www.vtape.org/video-catalogue-advanced-search They have many of these viewable for preview online if you get in touch with them for the curator's password. Also in Toronto, ImagineNATIVE Film Festival has an extensive online archive of their programs over the last 15 years: http://www.imaginenative.org best Chris Dear Frameworkers, A small group of students and alumni are programing an American Indian and Indigenous film screening series at CalArts for the end of the month. This will be a week long event from March 30th to April 3rd. I'm reaching out to all of you for suggestions as we finalize our programming in the next coming weeks. The program covers a range of forms and techniques and any suggestions will be appreciated and looked at. We are specifically looking for work made by American Indian and Indigenous peoples, not simply about. Programs will be arranged around such topics as: The Construction of Knowledge in Ethnographic Film Practices The Preservation and Conservation of Indigenous Land and Rights Contemporary Indigenous Art and Crafts Personal Narratives and Histories on the Reservation. As the event draws closer I'll send out the program details for those interested in the Southern California and Los Angeles area. Thank you for any help and suggestions. Best, Nate Cummings-Lambert (Eastern Band of Cherokee Indians) ___ 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] New York Boston Screenings: Burn the Sea/Brule le Mer
New York City Boston Frameworkers might be interested in a great documentary on North African migrancy showing as part of the Documentary Fortnight at MOMA and then showing at Balagan Film. The film was made at L'abominable by Maki Berchahe Nathalie Nambot with the assistance of Nicolas Rey. It's shot on 16mm and super 8 and will be showing on a beautiful 35mm blow-up. A lovely film and a testament to the type of filmmaking that microlabs like L'abominable can support. Very highly recommended... best Chris (Toronto) Info here: http://www.moma.org/visit/calendar/film_screenings/23240 Saturday, February 14, 2015, 7:30 p.m. Wednesday, February 18, 2015, 8:00 p.m. http://www.balaganfilms.com/br%C3%BBle-la-mer-2014 March 5, 7 pm ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Holy Shit!
Looking forward to Gibbons' Law to be coined by the medical community. This guy is just a wanna be. Consider the real deal - http://en.wikipedia.org/wiki/Willie_Sutton 2015-01-11 19:03 GMT-04:00 Sharine Atif sharine.a...@gmail.com: Greetings, Hope all is well. I asked to be added on the mailing list for weekly or monthly updates but if possible to not have to receive the entire email thread for emails that might be irrelevant for me given I receive so much emails on a daily basis, is it possible? Thanks Sent from my iPad On Jan 11, 2015, at 5:09 AM, Mark Street mstreet...@gmail.com wrote: One word: 'cojones.' I don't often use that word, but if Madeleine Albright can use it I guess I can too. On Sat, Jan 10, 2015 at 10:54 PM, Roslyn Broder rabro...@gmail.com wrote: I stand by what I said. On Sat, Jan 10, 2015 at 8:38 PM, Scott Dorsey klu...@panix.com wrote: Hey, this gag was already used by Woody Allen in _Take the Money and Run_. --scott ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks -- http://www.etsy.com/shop/RedAvaDesigns http://www.redavadesigns.com http://www.redavadesigns.com Like us on Facebook: https://www.facebook.com/redavadesigns http://eepurl.com/lR7Wb Sign up for our newsletter: http://eepurl.com/lR7Wb http://eepurl.com/lR7Wb Twitter: https://twitter.com/redorb1 http://pinterest.com/roslynbroder/ http://pinterest.com/roslynbroder/ ___ 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 ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Films incorporating deja vu
I feel like this query has come up before... Looking for examples of films that have made attempts at visually capturing ( even narratively) this unique sensation Thanks in advance Daniel ___ 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] Kodak Canada, 2010 Sales numbers
I've had no idea how to read these numbers since they were kind of delivered in a vacuum... how do they relate to 2011? 2009? How busy in film is western canada compared to eastern? to north america? to europe? How many customers does it represent? Its hard to extrapolate anything. It would be interesting to get a larger set of numbers so real comparisons would be made, although we would likely, unfortunately, just see a downward trend. best Chris On Thu, Oct 2, 2014 at 9:42 AM, John Woods jawood...@yahoo.ca wrote: Note this is for Western Canada only, which Kodak defined as the provinces of Saskatchewan, Alberta and British Columbia, which is about 10 million people. For 16mm.. the sales for 2010 follow this order: 1. Color Negative with 1.2 million feet! 2. Extachrome with 80,000ft 3. B/W Negative Reversal (50/50split) with 37,000 I missed this when it was posted, went into my spam folder... The numbers for B/W are not so great IMO, esp if it's split (approx 18500' each). I would guess these numbers have gone down. Of course, I have no proof of decline in sales... and would like to be wrong. I'm curious to the sales numbers for 16mm color negative for 2013-present, and to compare these numbers to U.S. figures (by region). Alain -- 40 FRAMES Portland, Oregon USA +1 503 231 6548 www.40frames.org www.16mmdirectory.org ___ 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] The Italian film manufacturing firm, Ferrina, have started a Kickstarter campaign as of today
It is indeed looking good. Not many people springing for the motion pictures stocks, though (less than 10 percent of the backers). On Tue, Sep 30, 2014 at 12:26 PM, Nicholas Kovats nkov...@gmail.com wrote: The Italian film manufacturing firm, Ferrania, have started a Kickstarter campaign as of today to rescue Trixie (large scale triacetate base production machinery), Walter (high volume chemical synthesis lab) and Big Boy (industrial film coating facility). $21,520 has been pledged of a $250,000 goal. The amount increased by $3,759 by the time I finished formatting this news. It's climbing fast, hope it continues. When I noticed Heikki's post this morning it was at $7K and last I looked it was above $40K. Alain -- 40 FRAMES Portland, Oregon USA +1 503 231 6548 www.40frames.org www.16mmdirectory.org ___ 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] good 16m lab in europe
Another film-list recommended Helmet Rings' Film 16 http://www.film16.de/ best Chris Hello Frameworkers, I am soon to shoot quite a number of 16mm magazines for a film production. I don't want to take any risks with the material â of course â, and was wondering if any of you has had recent experience with fim labs in Europe. In the past I have worked with Egli film in Zürich, who absorbed the famous Schwarzfilm from Bern. I've had good results years ago, with only one scratch once on a roll, but they are quite expensive. Plus, since fewer and fewer people shoot 16mm, I don't know how fresh their chemistry is. For S-8mm I work with Andec filmtechnik in Berlin, but I am not sure I would give them my material. The S-8mm magazines they process sometimes have a bit of residual jet rem, which is almost acceptable on 8mm gauge but not on 16mm. In Berlin there's also ARRI Schwarzfilm, but again, no idea if they use fresh chemistry and have expert people running the machines. Thank you for your feedback! Best, Marco -- marco poloni usedomer strasse 8 d â 13355 berlin gsm de +49.163.6294080 gsm ch +41.78.6322028 skype marcopoloni ___ 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] Pac Lab and color processing
Great to hear Cinelab is covering the BW processing front from Pac Lab. Those still needed color reversal processing (whether their final rolls of ektachrome or the recent Agfa/Wittner replacement) should keep in mind Niagara Custom Lab in Toronto with their recently updated lab: http://niagaracustomlab.com/ The weaker Canadian dollar should help offset shipping costs. best, Chris No, it was done there according to the student. The processing was very good too, better than what Pac Lab usually did. On Tue, Sep 23, 2014 at 4:03 PM, David Tetzlaff djte...@gmail.com wrote: One of the students got Super 8 processed at some random photo place in the middle of Brooklyn. They almost certainly just shipped it out, probably to Pac Lab. On Tue, Sep 23, 2014 at 12:28 PM, Jay Hudson jkh30...@gmail.com wrote: Funny thing is, when I was working at Millennium, one of the students of the basic filmmaking class got Super 8 processed somewhere in the middle of Brooklyn. I never got the name and have never heard anything about it from other film makers. I would love to try and find this place. It was some random photo place. Sound familiar to anybody? On Tue, Sep 23, 2014 at 1:35 PM, Matt Whitman i...@mawhitman.com wrote: Very disappointing to hear this. Perhaps as they sell their equipment a film/analog ally such as Mono No Aware, Millennium, or a colleague will pick up the equipment as a way to continue offering reversal film processing service in the NYC area - but this would be a lot to take on I am sure. On Sep 23, 2014, at 1:13 PM, Adam Levine alev...@amherst.edu wrote: They are closed for good- we use them for student work and they confirmed this yesterday. On Sep 22, 2014, at 4:55 PM, Matt Whitman i...@mawhitman.com wrote: if you call their phone number, there is a message that they are currently closed for maintenance. they keep pushing back the re-open date in the message though... // www.mawhitman.com // 610.416.4948 On Sep 22, 2014, at 4:52 PM, Edward Choi wrote: I was under the impression that they had just closed temporarily to renovate their space? edo On Monday, September 22, 2014, Jay Hudson jkh30...@gmail.com wrote: Someone on Facebook said Pac Lab went under. Any confirmation? ___ 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 ___ 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] Glitch video artists
Sounds like Rebecca Baron and Douglas Goodwin's Lossless series. http://www.vdb.org/titles/lossless-3 best Chris Hi all, I have been trying to remember the name of a collaborative duo that made some videos I saw a few years ago. One of the long works was a video made from a Hollywood western. They used a technique that recorded digital glitches and artifacting that left streaks and blocks of color. Ring any bells? Any other suggestions of folks working with Digital Cinema/Video Art in a self-referential way, (the self being Digital Cinema), would be appreciated as well. Thanks, Lana ___ 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] films using the optical printer
And while we're at it... my understanding was that Annabel Nicholson's Slides (also mentioned in this series of posts) was actually made on a contact printer, sliding pieces of film along at different speeds. I think her piece would be particularly hard to do in an optical printer, because its so fluid. Chris In the same spirit as Mark's post, I wanted to note that Peter Tscherkassky's Cinemascope trilogy is actually contact printed in short stretches (much of it using a laser pointer) rather than optically printed. He must surely have used an optical printer in some of his films (maybe Happy End, for ex.), but since the previous poster only dropped his name without specific films, I thought it was a point worth clarifying... R. From: FrameWorks [frameworks-boun...@jonasmekasfilms.com] on behalf of Mark Toscano [fiddy...@gmail.com] Sent: Wednesday, August 06, 2014 8:04 PM To: Experimental Film Discussion List Subject: Re: [Frameworks] films using the optical printer Baillie's CASTRO STREET has no optical printing in it. It's all in-camera matting or A/B/C lab printing. Also, it periodically needs to be said that Pat O'Neill's 7362 has NO optical printing in it whatsoever. It's all contact printing and hand-processing. A lot of people tend to talk about Pat's optical work, then show 7362 as an example in both public screenings and classes (sorry Jason!). Pat's first foray into optical printing came approximately two years later in his installation piece SCREEN (1969), and then with RUNS GOOD, etc. after that. That said, Pat is, as has already been said, an unparalleled artist in the medium, and though optical printing was for him merely a technological tool for achieving quite advanced aesthetic ideals, he is unsurpassed in his artful and visionary use of the thing. Probably the most convenient and exemplary short film of his for explaining, demonstrating, or teaching optical printing work is SAUGUS SERIES, which in some ways functions as both a notebook of incredible visual ideas pretty much without precedent, and an unintentional compendium of highly diverse suggestive uses for the optical printer. But you pretty much can't go wrong with ANYTHING Pat's made. Mark Toscano On Wed, Aug 6, 2014 at 12:48 PM, Stefan Grabowski ste...@radonlake.commailto:ste...@radonlake.com wrote: Bruce Baillie's 'Castro Street' has some really beautiful optical printing work. From: bigmuddy2...@hotmail.commailto:bigmuddy2...@hotmail.com Date: Wed, 6 Aug 2014 13:32:24 -0600 To: frameworks@jonasmekasfilms.commailto:frameworks@jonasmekasfilms.com Subject: Re: [Frameworks] films using the optical printer This is a great list! Barbara Hammer would be a good addition Sent from my iPhone On Aug 6, 2014, at 1:29 PM, Jason Halprin jihalp...@gmail.commailto:jihalp...@gmail.com wrote: Hi Carolyn, Below is the screening list from the last time I taught Optical Printing at Columbia College. I agree that Pat O'Neill is probably the greatest example of Optical Printing artistry, and include much of his work is available for purchase in DVD form. However, I would also stress that it was amazing to take the prints of his work and view them on rewinds with a light table so that students could really study how he created his looks. I love Water and Power too, and usually saved it until the last class in the semester. -Jason Halprin DAILY SCHEDULE Class 01 January 25th Screening: Pas de deux (Norman McLaren, 13 min, 1968) Class 02- February 1st Screening: Passage à l'acte (Martin Arnold, 15 min., 1993) Class 03- February 8th Screening: Piece Touche (Martin Arnold, 15 min., 1989) Zocalo (Richard Myers, 15 min, 1972) Spitting Image (Paula Froehle, 3 min., 1992) Class 04- February 15th Screeing: 7362 (Pat ONeill, 10 min, 1967) Roseblood (Sharon Couzin, 7 min., 1974) Class 05- February 22nd Screening: Watersmith (Will Hindle, 25 min, 1969) Film Wipe Film (Paul Glabicki, 32 min, 1984) Class 06 Screening: Wild Gunman (Craig Baldwin, 20 min, 1978) Television Assassination (Bruce Conner, 14 min, 1964/95) Cosmic Ray (Bruce Conner, 4 min, 1961) Class 07- March 8th Screening: Alone, Life Wastes Andy Hardy (Martin Arnold, 15 min, 1998) Flicker: Unsteady Motion (Paula Frohele, 7 min, 1995) Class 08- March 15th Screening: Frame (Ken Kobland, 10 min, 1976) Vestibule (Ken Kobland, 24 min, 1979) Class 09- March 29th Screening: Chinese Fire Drill (Will Hindle, 25 min, 1968) Runs Good (Pat ONeill, 15 min, 1970) Class 10- April 5th Screening: Elasticity (Chick
Re: [Frameworks] North American distribution for Snow's 'A Casing Shelved?'
CFMDC in Toronto would likely be able to direct you to it, likely by asking Michael on your behalf. We showed A Casing Shelved last year at the Free Screen at TIFF Cinematheque with Narcisa Hirsch's Taller (Workshop or Studio). She made that forty years ago in Argentina after only reading about, but never seeing, A Casing Shelved. For the screening last year, Narcisa and Michael, both eighty, met and saw each others' film for the first time--the inspiration and the response--and then talked together with the screening's curator, Federico Windhausen. It was quite lovely--almost a visual depiction of center and periphery (Michael talks about everything that's on screen, Narcisa talks about everything that's off screen). Narcisa's films are worth tracking down. There was a recent DVD release of her work. best, Chris Hi Frameworks, After realizing that I can't get my hands on an audio transcript for 'A Casing Shelved' by Michael Snow, I'm wondering if anyone knows if there are any US distributors for the piece so I can reference the soundtrack that way? Lux in the UK carries it (I'm presuming that's the copy they used for Oberhausen this year), but I'm hoping to find something a little closer to home in the US or Canada. An initial search of the main rental houses' databases has proved fruitless. Any information would be greatly appreciated! Thanks! Cheers, Kate Ewald ___ 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] Kodak black leader discontinued
According to a british neg cutter on the cinematography forum, ORWO hs also stopped production of their black leader. One suggestion to conserve stock for neg cutting was to use only a foot of real black leader on each end, slug in between, giving the lab enough time to close the lamp for that section. best Chris I suppose this is old news by now, but discontinued in March... http://motion.kodak.com/motion/uploadedFiles/PCN030214_Q.pdf 6-mil Kodak Opaque Black Acetate Leaders... in all formats. I am aware that the magnetic film Kodak carries is made by Pyral, however I am surprised to see 16mm magnetic film stay in the catalogue longer than all formats of black leader. I haven't looked around much yet, but I suppose ORWO still carries black leader... who else? Alain -- 40 FRAMES Alain LeTourneau Pam Minty 40 FRAMES 5232 North Williams Avenue Portland, Oregon 97217 USA +1 503 231 6548 www.40frames.org www.16mmdirectory.org www.emptyquarterfilm.org ___ 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] Call for Submissions: LIFT International Artist Residencies 2014/2015
Hi all, Just a reminder, our deadline for artists in residence applications is April 1! More info: The Liaison of Independent Filmmakers of Toronto (LIFT) is seeking applications from international (non-Canadian) artists for 46 week individual production residencies to take place between September 2014 and August 2015. LIFT is an artist-run production and educational media arts organization dedicated to celebrating excellence in the moving image. We support a wide range of production formats including Regular 8mm, Super 8mm, 16mm, Super 16mm, 35mm and HD; film and digital editing; optical printers; contact printers; animation stands; a darkroom and more. Toronto also offers a range of lab facilities, a large pool of experienced technicians and talent, a vibrant film community and a dynamic arts environment. LIFT's residency program focuses on the production of film-based works with equipment and facilities to which the artist would not have access in their local region. Artists are expected to be at an established point in their practice (although not necessarily working predominantly with film). Applicants must also consider what they would bring to Toronto in terms of community collaboration, teaching, artist talks and/or presentation activitiesthese engagements are a critical part of each residency offered by LIFT. The maximum cash funding for projects is $3,000 (CAD) for travel, accommodation and per diems. Equipment and facilities will be provided by LIFT to a maximum of $3,000 (CAD), LIFT equipment rates can be found at www.lift.ca. The artist is responsible for the costs of all film stock, chemicals, lab fees and other expendables. The funding for this project is dependent on grants that LIFT applies for after residents are selected. Submissions must be received no later than Tuesday, April 1, 2014. Complete info online: http://lift.ca/programming/call-submissions-international-artist-residencies-20142015 best, Chris -- Chris Kennedy - Executive Director Liaison of Independent Filmmakers of Toronto (LIFT) 1137 Dupont Street, Toronto, Ontario, M6H 2A3 Tel: 416.588.6444 ext. 223 Fax: 416.588.7017 Web: www.lift.ca Charitable # 125986406RR0001 Donate via CanadaHelps.org ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] 35mm slides from digital files
Hey Pablo, It's a small batch I'm sure, if its just a roll or two of 35mm slides, but Niagara might be willing to process them for you. Worth checking with them. best Chris Hey frameworks, this isn't exactly motion picture film related, but as it has to do with analog celluloid film production i thought maybe the frameworks hive mind might offer up some direction: I'm looking to produce a set of 35mm slides from digital files. the images are all black and white, and thus, should be printed onto black and white film stock, and not on to ektachrome or some of color reversal process. quote a few labs I've talked to can do color slides, but most seem to think black and white reversal film doesn't exist. Anyone? -- Pablo de Ocampo, Artistic Director THE IMAGES FESTIVAL 448-401 Richmond Street West Toronto, Ontario M5V 3A8 CANADA +1 (416) 971 8405 telephone 27th EDITION!! April 10-19, 2014 www.imagesfestival.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] Turner and Film
Definitely Peter Hutton's color films, Rebecca Meyers' blue mantle and T. Marie's Slave Ship, which is inspired by the painting of the same name. Scott MacDonald's book the Garden in the Machine, which you may have encountered already, may be of help. Dear frameworks members, I'm contacting from Tate Etc. Magazine, London in the hope that somebody at Frameworks might be able to help me with some research I'm undertaking with regard to an article we're publishing in a couple issues time. Essentially the article will focus on J.M.W Turner's influence on film. I was wondering whether somebody at Frameworks could advise on some interesting, perhaps less known filmmakers who have been influenced by him? I'm really looking at hard fact and solid evidence as opposed to conjecture. Any assistance you can offer would be greatly appreciated. My very best, Aaron Juneau Editorial Assistant TATE ETC. magazine 20 John Islip Street Millbank London SW1P 4RG T: +44 (0)20 7821 8606 F: +44 (0)20 7887 3940 E: aaron.jun...@tate.org.uk www.tate.org.uk/tateetc follow us on Twitter: @TATEETCmag ___ 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] Call for Submissions: LIFT International Artist Residencies 2014/2015
Hi all, We've opened our call for the next artist in residences at LIFT in Toronto. We just said goodbye to Pablo Marin, our latest resident, who spent a month making a beautiful 16mm film. We also supported Steve Cossman and Julie Murray this year and look forward to hosting Juan David Gonzolez Monroy and Anja Dornieden next month! Richard Tuohy also joined us last March! So, please apply and join us in Toronto. More info: The Liaison of Independent Filmmakers of Toronto (LIFT) is seeking applications from international (non-Canadian) artists for 46 week individual production residencies to take place between September 2014 and August 2015. LIFT is an artist-run production and educational media arts organization dedicated to celebrating excellence in the moving image. We support a wide range of production formats including Regular 8mm, Super 8mm, 16mm, Super 16mm, 35mm and HD; film and digital editing; optical printers; contact printers; animation stands; a darkroom and more. Toronto also offers a range of lab facilities, a large pool of experienced technicians and talent, a vibrant film community and a dynamic arts environment. LIFT's residency program focuses on the production of film-based works with equipment and facilities to which the artist would not have access in their local region. Artists are expected to be at an established point in their practice (although not necessarily working predominantly with film). Applicants must also consider what they would bring to Toronto in terms of community collaboration, teaching, artist talks and/or presentation activitiesthese engagements are a critical part of each residency offered by LIFT. The maximum cash funding for projects is $3,000 (CAD) for travel, accommodation and per diems. Equipment and facilities will be provided by LIFT to a maximum of $3,000 (CAD), LIFT equipment rates can be found at www.lift.ca. The artist is responsible for the costs of all film stock, chemicals, lab fees and other expendables. The funding for this project is dependent on grants that LIFT applies for after residents are selected. Submissions must be received no later than Tuesday, April 1, 2014. Complete info online: http://lift.ca/programming/call-submissions-international-artist-residencies-20142015 best, Chris -- Chris Kennedy - Executive Director Liaison of Independent Filmmakers of Toronto (LIFT) 1137 Dupont Street, Toronto, Ontario, M6H 2A3 Tel: 416.588.6444 ext. 223 Fax: 416.588.7017 Web: www.lift.ca Charitable # 125986406RR0001 Donate via CanadaHelps.org ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] regular 8mm film processing question
Hi Charles, LIFT in Toronto sells FOMAPAN Regular 8, which is a lovely stock that I believe is still being produced. We import it from Germany and can ship it to the states. Info here: http://lift.ca/equipment/store/fomapan-regular-8mm-film-33-asa-100d80t good luck Chris Cool, thanks for your help. -c On Fri, Nov 8, 2013 at 10:27 AM, Buck Bito - Movette b...@movettefilm.comwrote: Hi Charles, I haven't ordered since my R8 100D order a week before the Kodak discontinuation announcement last year, but I have been happily ordering from International Film (John Schwind) for years without a problem. Just give him a call or drop an email to confirm he's got what you want: International Film (John Schwind) http://internationalfilm.weebly.com/ -Have fun with that R8! ---Buck On Fri, November 8, 2013 9:43 am, Charles Chadwick wrote: Thanks. BTW, is the 8mm stock still being produced? I just emailed Joss Schwind, but his website looks pretty old...and I don't want to send money to a random address and get nothing back. Yale says the b+w 8mm stock's been discontinued... -charles On Fri, Nov 8, 2013 at 9:29 AM, Buck Bito - Movette b...@movettefilm.comwrote: Hi Charles, Yale does great work (although I hate their recent, printed leaders) and I don't think you'll find anything lower than their $15/roll advertised pricing. Spectra also processes R8, but they advertise $18/roll. -If you find something as good and cheaper, please post! ---Buck Bito Lawrence Buck Bito Movette Film Transfer 1407 Valencia St. San Francisco, CA 94110 (Valencia at 25th St.) 415-558-8815 Open Tuesday - Saturday Tue+Thu: 8-6, Wed+Fri: 9-6, Sat: 10-4 *** CLOSED 11/28/13 through 12/2/13 *** www.movettefilm.com On Fri, November 8, 2013 9:13 am, Charles Chadwick wrote: Hey, I recently inherited what looks like a fairly decent reg 8mm camera from a family friend, and was looking to do a new small gauge project anyway, and have never worked with reg 8mm, only s8. I've tracked down a good price on stock, namely 8mm black and white, but does anyone know what the best option cost wise for b+w reg 8mm processing would be? Anything besides Yale. Thanks! Finding myself to be pretty poor these days, trying to carve out a conservative budget with what little funds that I have. -charles ___ 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 ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] The Optical Printing Job.
Hi Ben, John Kneller up in Toronto has done some nice blow-ups and optical prints for me: knel...@rogers.com best Chris Dearest Frameworkers, I've got a 12:00 bit of B/W 16mm positive footage that I would like to have optically slowed down to around 20:00 using a Bezier curve (so that the speed slowly decreases to a crawl). I've got a reference video file but need to find someone who could do the job - one that would result in a 20:00 B/W negative. Can you recommend anyone or any place that could work on this with me? Thanks in advance! Yes, Ben Russell -- www.dimeshow.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] AGFA reversal film stock
LIFT in Toronto now has the Wittner Chrome 200D color reversal stock (repackaged AGFA Aviphot) available in super 8 and 16mm. Polyester stock, processed as E-6 More info at www.lift.ca/store Glad there's still a color stock in existence. -- Chris Kennedy - Executive Director Liaison of Independent Filmmakers of Toronto (LIFT) 1137 Dupont Street, Toronto, Ontario, M6H 2A3 Tel: 416.588.6444 ext. 223 Fax: 416.588.7017 Web: www.lift.ca Charitable # 125986406RR0001 Donate via CanadaHelps.org ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] AGFA reversal film stock
Sorry, wrong URL: www.lift.ca/equipment/store LIFT in Toronto now has the Wittner Chrome 200D color reversal stock (repackaged AGFA Aviphot) available in super 8 and 16mm. Polyester stock, processed as E-6 More info at www.lift.ca/store Glad there's still a color stock in existence. ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
