[Frameworks] Niagara Custom Lab job opening: Front End Manager

[director]

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


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[Frameworks] Screening 11.3.15 Brooklyn NYC FREE!

[Mark Street]

*Cinema Séance #3 “Autumnal Abstractions” curated by Mark Street*

*7 pm  Tuesday November 3  FREE!*



*Court Tree Collective*

2nd Floor, 371 Court St, New York, NY 11231

http://courttree.com/event-name/cinema-seance-3/



Eight 16mm films unspool on the screen tonight, all toying with graphic
collisions and effusions in a quixotic attempt to express the ineffable.  1
hour TRT.



*Hand Tinting *by Joyce Wieland (1967) 16mm, color, 6 min

"... made from outcuts from a Job Corps documentary which features hand
tinted sections. The film is full of small movements and actions, gestures
begun and never completed. Repeated images, sometimes in color, sometimes
not. A beautifully realized type of chamber-music film whose sum-total
feeling is ritualistic." Robert Cowan, Take One



*40/4000* by Joel Shlemowitz (2007) 16mm, 3 min.
A camera roll. Forty years celebrated in four-thousand frames.



*Chimera *by Joel Schlemowitz

 (2012), 16mm, color, live sound, 6 min.

Illusions made manifest through light and shadow.



*45 7 Broadway *by Tomonari Nishikawa (2013)16mm, sound, color, 5 min.

This is about Times Square, the noises and movements at this most
well-known intersection. The film was shot on black and white films through
color filters, red, green, and blue, then optically printed onto color
films through these filters. The layered images of shots by handheld camera
agitate the scenes.



*Market Street *by Tomonari Nishikawa (2005) 16mm, silent, b, 5 min.

All images were filmed on Market Street in San Francisco. The visual was
carefully composed frame by frame, while shooting on the street.



*Undertone Overture *by Jodi Mack (2013) 16mm, color, sound, 11m.
A study of tie dye swims out to the cosmos and back again.



*Let Your Light Shine *by Jodi Mack (2013), 16mm, b/w + color, sound, 3m.
A spectacle for prismatic spectacles. Handmade optical polyrhythms and a
thousand rainbows explore the grating equation.



*Halloween Two Thousand Fifteen* by Mark Street (11.3.15) 16mm, b and
white, silent, 5 m.

16 mm film shot on Carroll Street on Halloween and hand processed in a
bucket in a dungeon on Carroll Street.
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Re: [Frameworks] Experimental Animated Documentaries

[Elizabeth McMahon]

I recommend many of the animated works by Emily Hubley, especial "Her
Grandmother's Gift" and "Fish/Girl." I would recommend calling Emily and
seeing if she could recommend any of her parents Faith and John Hubley's
animated films as well.

Anything animated by Philip Stapp for International Film Foundation would
definitely meet this criteria.
http://www.internationalfilmfoundation.org/films/  My personal favorite is
"Boundary Lines."

In addition, I would call the NFBC and ask for recommendations. Or, just
start by perusing their estimable catalog. https://www.nfb.ca/

Best,

Elizabeth

On Mon, Oct 26, 2015 at 9:00 AM, Andrew Connor 
wrote:

> Hi,
>
> I have a friend who is looking for experimental animated documentaries
> that follow non narrative structures, and animated documentaries which
> function as a critique of traditional documentary techniques.
>
> Any suggestions for her?
>
> Many thanks,
>
> Andy Connor
> 
>
> --
> [image: Avast logo] 
>
> This email has been checked for viruses by Avast antivirus software.
> www.avast.com 
>
>
> The University of Edinburgh is a charitable body, registered in
> Scotland, with registration number SC005336.
>
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>


-- 
Elizabeth
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[Frameworks] Experimental Animated Documentaries

[Andrew Connor]

Hi,

I have a friend who is looking for experimental animated documentaries 
that follow non narrative structures, and animated documentaries which 
function as a critique of traditional documentary techniques.


Any suggestions for her?

Many thanks,

Andy Connor



---
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The University of Edinburgh is a charitable body, registered in
Scotland, with registration number SC005336.
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Re: [Frameworks] Experimental Animated Documentaries

[Joshua Yates]

https://vimeo.com/kellygallagher

On Mon, Oct 26, 2015 at 9:00 AM, Andrew Connor 
wrote:

> Hi,
>
> I have a friend who is looking for experimental animated documentaries
> that follow non narrative structures, and animated documentaries which
> function as a critique of traditional documentary techniques.
>
> Any suggestions for her?
>
> Many thanks,
>
> Andy Connor
> 
>
> --
> [image: Avast logo] 
>
> This email has been checked for viruses by Avast antivirus software.
> www.avast.com 
>
>
> The University of Edinburgh is a charitable body, registered in
> Scotland, with registration number SC005336.
>
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
>
>
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[Frameworks] Film to digital photo to video on a JK

[Chris G]

Frameworkers,

I am looking into mirrorless digital cameras for capturing individual still
frames on a JK optical printer to then be compiled into video output. I
realize that there is information out there on past implementations of
DSLRs and mirrorless cameras used for digital transfers but I want a very
contemporary take given the advancements in this format and what one's
general concerns might be. I would also love to see examples of output from
similar set ups. I realize that much of this can be gleaned from research,
but my attempts so far have only yielded uncertain results (dead links, old
posts, unspecified techniques). I am more interested in the consumer market
of these, and don't really want to spend more than $500 on a body.

• What sensor size (considering crop factor/coverage and using existing
50mm and 75mm lenses on my JK) is optimal for capturing 16mm/S8? It seems
that the mirrorless cameras have gained considerably larger sensors in the
last year(s), even on the consumer level, so now certain sensors are 2x the
size of a 16mm frame. JK's website references using an older Lumix and the
old Sony S1 Pro, which doesn't really apply to today's market so well.

• Will I likely need to extend my bellows more than 6"?

Light

• Consumer cameras seem to have a lowest native ISO rating of 80-200,
depending on the model/brand. I'm assuming that one consideration I should
take would be finding a camera/sensor with the lowest native ISO, but is
there generally a massive difference in latitude between the common
80/100/160/200 CMOS sensors?

• Would I need to compensate for density through lamp brightness/filters in
order to capture more detail in shadows/highlights?

• Alternative light sources? A Frameworks thread back in December 2010
addresses this pretty well and how the standard bulbs are only rated for
10-20 hours of use and this process being incredibly slow you could burn
out your bulb before you even capture 100' of film. I am inclined towards
building my own LED source but am wondering what others have come up with.
I know Jaakko sells LEDs for the 103/104, but I think I can come up with
something more appropriate for my specific needs.

Process/Output

• That same thread from Dec 2010 mentions compiling the images in an
animation codec in FCP7. I have Adobe CC + access to older CS programs and
Media Composer 8, so wondering what the best workflow with those resources
would be.

Overall

I have a 103 that's controlled with a computer-based sequencer. I use Nikon
enlarging lenses and a C-mount REX 4. I don't want to invest in large
format (135mm/150mm) lenses at this point. I am leaning towards a Sony
A5000/51000, depending on the crop factor/coverage as it has a 23.2mm x
15.4mm sensor. I'll control the digital camera as I do the Bolex, through
the computer sequencer, so I need a wired remote for interfacing the
shutter actuation. I realize that an older camera body might be just fine
for my needs, but SDXC would be nice, especially if I want to shoot RAW.

My general expectations are to have a set up sufficient for web output, but
something suitable for digital projection would also be nice. I know this
is a slw process and that there are likely several other
considerations I've overlooked or just not researched. Any input on my
specific questions or experience with similar set ups would be greatly
appreciated.

Thanks,
Chris
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Re: [Frameworks] Experimental Animated Documentaries

[Gary Thomas]

There's this website:
https://animateddocs.wordpress.com/


And some of the films we've commissioned that are/could be considered 
documentary:

http://www.animateprojects.org/films/by_date/20141/216_westbound

http://www.animateprojects.org/films/by_date/2009/for_cultural

http://www.animateprojects.org/films/by_date/2009/video_mappings_aida_palestine_iv_ways_to_the_hospital

http://www.animateprojects.org/films/by_date/films_2008/earl_birds

http://www.animateprojects.org/films/by_date/2007/flat_earth

http://www.animateprojects.org/films/by_date/2007/mag_mov




On 26 Oct, 2015,at 01:01 PM, Andrew Connor  wrote:

Hi,

I have a friend who is looking for experimental animated documentaries that 
follow non narrative structures, and animated documentaries which function as a 
critique of traditional documentary techniques.

Any suggestions for her?

Many thanks,

Andy Connor



This email has been checked for viruses by Avast antivirus software. 
www.avast.com


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Re: [Frameworks] Film to digital photo to video on a JK

[Francisco Torres]

''...capturing individual still frames on a JK optical printer to then be
compiled into video output.''
Could a modified scanner be more efficient and cheaper than a camera? Seems
that other people have gone that way.

2015-10-26 9:03 GMT-04:00 Chris G :

> Frameworkers,
>
> I am looking into mirrorless digital cameras for capturing individual
> still frames on a JK optical printer to then be compiled into video output.
> I realize that there is information out there on past implementations of
> DSLRs and mirrorless cameras used for digital transfers but I want a very
> contemporary take given the advancements in this format and what one's
> general concerns might be. I would also love to see examples of output from
> similar set ups. I realize that much of this can be gleaned from research,
> but my attempts so far have only yielded uncertain results (dead links, old
> posts, unspecified techniques). I am more interested in the consumer market
> of these, and don't really want to spend more than $500 on a body.
>
> • What sensor size (considering crop factor/coverage and using existing
> 50mm and 75mm lenses on my JK) is optimal for capturing 16mm/S8? It seems
> that the mirrorless cameras have gained considerably larger sensors in the
> last year(s), even on the consumer level, so now certain sensors are 2x the
> size of a 16mm frame. JK's website references using an older Lumix and the
> old Sony S1 Pro, which doesn't really apply to today's market so well.
>
> • Will I likely need to extend my bellows more than 6"?
>
> Light
>
> • Consumer cameras seem to have a lowest native ISO rating of 80-200,
> depending on the model/brand. I'm assuming that one consideration I should
> take would be finding a camera/sensor with the lowest native ISO, but is
> there generally a massive difference in latitude between the common
> 80/100/160/200 CMOS sensors?
>
> • Would I need to compensate for density through lamp brightness/filters
> in order to capture more detail in shadows/highlights?
>
> • Alternative light sources? A Frameworks thread back in December 2010
> addresses this pretty well and how the standard bulbs are only rated for
> 10-20 hours of use and this process being incredibly slow you could burn
> out your bulb before you even capture 100' of film. I am inclined towards
> building my own LED source but am wondering what others have come up with.
> I know Jaakko sells LEDs for the 103/104, but I think I can come up with
> something more appropriate for my specific needs.
>
> Process/Output
>
> • That same thread from Dec 2010 mentions compiling the images in an
> animation codec in FCP7. I have Adobe CC + access to older CS programs and
> Media Composer 8, so wondering what the best workflow with those resources
> would be.
>
> Overall
>
> I have a 103 that's controlled with a computer-based sequencer. I use
> Nikon enlarging lenses and a C-mount REX 4. I don't want to invest in large
> format (135mm/150mm) lenses at this point. I am leaning towards a Sony
> A5000/51000, depending on the crop factor/coverage as it has a 23.2mm x
> 15.4mm sensor. I'll control the digital camera as I do the Bolex, through
> the computer sequencer, so I need a wired remote for interfacing the
> shutter actuation. I realize that an older camera body might be just fine
> for my needs, but SDXC would be nice, especially if I want to shoot RAW.
>
> My general expectations are to have a set up sufficient for web output,
> but something suitable for digital projection would also be nice. I know
> this is a slw process and that there are likely several other
> considerations I've overlooked or just not researched. Any input on my
> specific questions or experience with similar set ups would be greatly
> appreciated.
>
> Thanks,
> Chris
>
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
>
>
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[Frameworks] Cameras for Sale

[Kate Ewald]

Hi everyone,

I'm selling several cameras.  Please respond off list to
katherine.ew...@gmail.com if interested for more details.  I'm putting them
up here first before resorting to Ebay in hopes that they go to a good home
in the community.

KRAS-3
Great condition, with zoom lens and leather carrying case.

KRAS-3 Modified for Super 16
Excellent condition, with zoom lens, leather carrying case, and shoulder
mount thing.

REGULAR 8mm BOLEX
With 3 lenses.  In great condition.  No other accessories.

Cheers,
Kate Ewald
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[Frameworks] Call for Work: Ovular Films

[Caryn Cline]

Dear Frameworkers,


*We are seeking short experimental films that are “ovular” in nature.  *



*“Ovular” films employ themes central to women’s experiences, using the
cyclical functions of the ovular cycle as a metaphor for intellectual,
psychological, emotional, physical and spiritual engagement with the
world.  We seek work in 35mm, 16mm or digital film that speaks to these
experiences directly or indirectly.  For us as curators, “ovular”
foundational films include Maya Deren’s “At Land,” Carolee Schneemann’s
“Plumb Line,” and Anne Severson’s “Near the Big Chakra.” *


*Deadline: Jan. 15, 2016.  We will contact you by mid-February to let you
know whether your work has been accepted.  *


*Selected films will be screened at Experiments in Cinema
 in Albuquerque in April, 2016.
Subsequent screening opportunities may emerge.  *


*The Ovular Film Program is co-curated by Caryn Cline
(carynycl...@gmail.com ), Taylor Dunne
(taylor.a.du...@gmail.com ), and Linda
Fenstermaker (lindafensterma...@gmail.com ).  *



*Please send us a digital link to your film as well as a short (50 words or
less) synopsis.   If you have questions, please contact one of us off list.*


*Thank you.  *

-- 
Caryn Cline
Experimental Filmmaker & Teacher
vimeo.com/carynyc

film still from "Notes from the Farm" (2014)
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