Re: [Frameworks] Long shot: Looking for Canon Scoopic 16m

[Robbie Land]

Often seen these on eBay surprisingly inexpensive. Much less than a Bolex
rx 2 or 3.
sure you’ve already checked such.
Past couple years quite surprised their eBay price.

On Sat, Apr 25, 2020 at 9:05 PM Scott Dorsey  wrote:

> Chambless almost always has them, and Chambless will do competent refurb
> jobs on them.  Of course, you have to pay Chambless prices but that is how
> it goes.
>
> You do know that there are plenty of other reflex cameras out there besides
> the Scoopic and the Bolex, right?
> --scott
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Re: [Frameworks] Repairing and servicing an Elmo S-8 Sound projector

[Robbie]

I agree with Jean-Louis. 
A. Setoua does great work. 

> On Dec 19, 2018, at 5:00 PM, Jean-Louis Seguin  wrote:
> 
> ABDERRAZAK "ABDUL" SETOUA 
> PO Box 2555
> Astoria, New York
> 11102
> United States
> 
> Telephone: + 1 718 426 1986
> Telephone 2: +1 917 204 6755
> 
> Email: cinerep...@aol.com
> 
> Service for Bell & Howell, Eiki, and Elmo.
> 
> 
> Jean-Louis
> 
> Sent from my iPhone
> 
>> On Dec 19, 2018, at 12:13 PM, Sceptics skept  wrote:
>> 
>> Hi Robert. I’m in NYC too. Which S8 Elmo projector Is it, and what servicing 
>> is needed?  I have a number of S8 & 16mm projectors 
>> 
>> Evangelos Samaras
>> 
>> On Dec 19, 2018, at 11:53 AM, Robert Withers  wrote:
>> 
>>> Hello,
>>> I had a reference a few years ago for someone who said he could do this but 
>>> times change.
>>> 
>>> Any references who could do minor servicing and tune up this machine in the 
>>> New York City area?
>>> 
>>> Thanks, 
>>> Robert Withers
>>> withe...@earthlink.net
>>> 
>>> 
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Re: [Frameworks] Cyanotype on film

[Robbie]

I’ve used InkAid gel medium with cyanotype on clear celluloid with success. 

> On Jul 26, 2018, at 5:55 PM, John Davis <0johndav...@gmail.com> wrote:
> 
> I use a similar but slightly different approach and generally get really 
> solid results that work for me - I do both contact printing with found 
> footage and/or my own footage, as well as contact printing with plant 
> material and other light block mediums etc. I have tried the bucket method 
> for coating, applying with sponges, brushes, etc. and have settled on using 
> cotton rags.
> 
> 1. Using manufactured (out of date) film that's not been processed I bathe in 
> non-hardening fixer until clear (this provides you a factory emulsion base 
> for proper adhesion of solution as opposed to applying your own emulsion - 
> which can be great, but is a whole different animal) 
> 2. Rinse fixer as normal and dry
> 3. I tape down the film lengths emulsion side up on a clean dry surface on 
> top of construction paper and apply solution with a cotton rag - applying 
> just enough to coat the film and avoid excess which leads to flooding 
> underside of the film (the paper helps absorb excess). Also, I have 
> experimented with both single and double coatings of solution and my results 
> were no different in terms of density, etc.
> 4. Cut film lengths to length of glass which goes on top of light block 
> medium and expose to UV light source
> 5. Rinse with water until unexposed solution fully clears - rinse repeat.
> 6. Dry
> 
> I have tried mixing my own chemistry from scratch, Photog's Forumulary 
> solution and Bostick and Sullivan solution and like the B best for quality 
> and ease of use. I am interested in the variations that occur with different 
> application densities, and experiments with solution density etc, but find 
> the rag method uses the least amount of solution and makes less of a mess in 
> the long run.
> 
> Exposure times vary depending on light sources. I use the sun and typically 
> expose anywhere from 15 - 30 minutes depending on time of day and/or time of 
> year.
> 
> Happy to talk more with anyone curious about my results. 
> 
> 
> 
>> On Thu, Jul 26, 2018 at 12:22 PM Rhona Eve Clews  
>> wrote:
>> Have forwarded to an artist I know who did this - hopefully they will reply 
>> to you directly! 
>> Rhona 
>> 
>>> On 26 Jul 2018, at 20:21, Beebe, Roger W.  wrote:
>>> 
>>> Here’s an answer from Ben Wigley to the Labos list in response to a very 
>>> similar question.  (I’m only bouncing this—haven’t tried it myself.)
>>> 
>>> 
>>> _
>>> 
>>> 
>>> In this book about Anthotypes - 
>>> https://www.amazon.co.uk/Anthotypes-Explore-darkroom-garden-photographs/dp/1466261005
>>> they apply the emulsion with a brush or a sponge as it applies a much 
>>> thicker emulsion - to greater effect, than dipping….
>>> perhaps you could try taping to a surface and applying with sponge/brush 
>>> and then you wouldn’t get it on the back of the film? You could also wait 
>>> for a coat to dry and apply more?
>>> 
>>> I’m guessing you would need a very long exposure for this technique
>>> 
>>> This is what a friend of mine emailed me when I asked him - not sure if it 
>>> helps:
>>> 
>>> '
>>> 
>>> "A gel is required for a carrier if the film is bare plastic: Gelatine, Agar
>>> Subcoat with chrome alum hardened gelatine or agar, overcoat with cyanotype 
>>> in gelatine. There may be an issue with the heat of molten gelatine (agar 
>>> is worse as it requires a higher temperature) curing off the cyanotype 
>>> reagent (turning it blue). Cool gelatine to as close to the gelling point 
>>> as possible before adding cyanotype sensitiser. May need to use a 
>>> restrainer - few drops of 10% sodium chlorate per 20ml cyanotype reagent - 
>>> this will also increase contrast, and lower sensitivity.
>>> 
>>> OR you can overcoat the fixed film with gel / cyanotype emulsion
>>> 
>>> If you use fixed out print film - When fixing film do not use a hardening 
>>> fixer, plain hypo is fine.
>>> 
>>> Under red light soak the fixed, washed in deionised water and dried film in 
>>> a strong solution of cyanotype ? double strength? with a trace of wetting 
>>> agent, like Photo flo, 
>>> 
>>> Remember the volume of cyanotype solution soaking into the gelatine film 
>>> layer is minute and will appear to run off the film
>>> 
>>> then drain and dry, remove adhering spots of water on the film surface with 
>>> a tissue. When dry load film into camera under subdued or red light. 
>>> Remember cyanotype sensitivity is very low much less than 1ASA, so single 
>>> shot time exposures will be required for each frame - determine exposure by 
>>> trial and error.
>>> 
>>> There is still some fine detail I’m not describing, but I’ve never done 
>>> this on film before.”
>>> 
 On Jul 26, 2018, at 2:45 PM, Devon D  wrote:
 
 Howdy Frameworkers,
 
 Trying to do some cyanotype on film, 16mm & 35mm, having trouble getting 
 the solution to stick and 

Re: [Frameworks] Kodak reps? (and Ektachrome)

[robbie]

Mike Brown is rep down here in Georgia, perhaps he can assist. Just spoke with 
him last week, so hopefully he's still with Kodak. His contact info: 
michael.p.br...@kodak.com(561) 310-5520
Although quite pleased ektachrome will again be available in S-8 and still, i 
agree the push for 16mm. 
robbieland 

On Wednesday, November 29, 2017, 5:34:16 PM EST, Christopher Ball 
 wrote:  
 
 Mel's (Vision Global) in Montreal is a lab and the kodak rep for Canada, 
http://mels-studios.com/en/post-production/laboratory/
On Wed, Nov 29, 2017 at 8:39 AM, Beebe, Roger W.  wrote:

Does anyone have any info about changes to the Kodak reps for North America 
recently?  I emailed both my new rep for Ohio and my old rep from Florida, and 
both emails bounced back.  Not sure if my email is just being buggy or if there 
have been layoffs or departures.
FYI, I was trying to contact them because I’ve recently learned that the new 
Ektachrome, when it’s reintroduced next year, will initially be offered only in 
super 8mm and 35mm still.  For those of us who teach, 16mm Ekta is an essential 
stock, so I was hoping to encourage them to reintroduce 16mm in short order.  
Might be worth a concerted effort by Frameworkers if others share my concern.
Best,Roger



Roger Beebe
Professor
Department of Art
The Ohio State University


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[Frameworks] Call for Lecturer in Screenwriting at Georgia State University in Atlanta

[Robbie Land]

Lecturer in Screenwriting

Be part of the School of Film, Media & Theatre’s growing faculty at Georgia
State University, an enterprising Research I university in Atlanta. Our
next Lecturer in Screenwriting will play a central role in the school’s
contributions to Georgia State’s strategic goals of highlighting the arts
and media as vital to the quality of all major cities and demonstrating
that students from all backgrounds can achieve academic and career success
at high rates. Opportunities for growth and support in this position
include university-level teaching fellowships and grants through the Center
for Excellence in Teaching and Learning, leadership in instructional
innovation through our active learning classroom program, and successive
promotion to the ranks of Senior Lecturer and Principal Senior Lecturer.

The Film and Media faculty and the Theatre faculty at Georgia State
University merged in July 2017 to form the School of Film, Media & Theatre.
The new school has over 900 majors and houses a Ph.D. program in Moving
Image Studies, master’s programs in film/media production and studies, and
undergraduate programs in film/media and theatre. We are located in the
heart of the third largest media-producing capital in America. The School
of Film, Media & Theatre is dedicated to broadening the range of voices
heard in American culture (including perspectives that are often
marginalized because of race, gender, age, class, rural status, gender
identity, ethnicity, body image, disability, sexual orientation, military
status, religion, or political orientation) and to critically examining the
functions of mainstream visual storytelling in our culture. The School of
Film, Media & Theatre is part of the College of the Arts, which was
established in 2016 and also includes the Ernest G. Welch School of Art &
Design, the School of Music, the Center for Collaborative & International
Arts (CENCIA), and the Center for Educational Partnerships in Music. In
addition to offering some of the university’s most popular majors, the
college connects faculty and students with Atlanta’s thriving arts scene
and booming film and music industries. Georgia State University is a
national leader in using innovation to drive student success. Enrolling and
graduating one of the nation’s most diverse student bodies, Georgia State
provides its world-class faculty and more than 50,000 students unsurpassed
research, teaching, and learning opportunities in one of the 21st century’s
great global cities. In 2017, U.S. News & World Report ranked Georgia State
as #4 in Most Innovative Schools, #8 in Best Undergraduate Teaching, and
#11 in Campus Ethnic Diversity among national universities.

Responsibilities

The selected candidate can anticipate teaching screenwriting courses at the
graduate and undergraduate level; potentially supervising master’s level
screenwriting theses; and participating in service at the department,
college, and/or university levels.

Qualifications

Essential Qualifications

· 18 hours of graduate study in screenwriting or a related field;

· An emerging record of achievement in screenwriting (feature films;
broadcast/cable/web television; film festivals; screenwriting competitions;
development/distribution contracts);

· An ability to teach screenwriting for episodic/serial television, feature
films, and/or short films

Preferred Qualifications

· A significant record of achievement in screenwriting;

· M.F.A. or Ph.D. degree in screenwriting or a closely related field;

· Experience in teaching screenwriting for episodic/serial television,
feature films, and/or short films;

· A demonstrated commitment to diversity

Application Procedure

Submit: 1) a letter of application addressing the essential and preferred
qualifications as well as your teaching philosophy and your past and/or
potential contributions to diversity and inclusion through teaching; 2)
curriculum vitae; 3) a writing sample; and 4) at least two letters of
recommendation. Applicants should send their materials to
randerso...@gsu.edu or to the following address:

Attn: Regina Anderson

College of the Arts-Film, Media & Theatre

Georgia State University

P.O. Box 5060

Atlanta, GA 30303

Review of applications will begin immediately and continue until the
position is filled. Questions about the position should be addressed to
Prof. Ly Bolia, lybo...@gsu.edu. To ensure consideration, please submit all
materials by December 1, 2017. Should you be recommended for a position, an
offer of employment will be conditional on background verification.

Georgia State University is an Equal Opportunity Employer and does not
discriminate against applicants due to race, ethnicity, gender, veteran
status, or on the basis of disability or any other federal, state, or local
protected class. As a campus with a diverse student body, we encourage
applications from women, minorities, and individuals with a history of
mentoring under-represented minorities in 

Re: [Frameworks] Subject: optical sound film screening

[Robbie Land]

https://vimeo.com/174144283

On Sat, Mar 11, 2017 at 11:13 AM, Dana Duff  wrote:

> Hi Peter,
> You should also look at the work of Izabella Pruska-Oldenhof, using the
> image itself as the optical sound track.
> I saw her compelling installation work "In Medias Res" recently at the
> Alchemy Film Festival in Scotland, represented on Vimeo here:
> https://vimeo.com/138349026
> Good luck,
> Dana Berman Duff
>
>
>
>
>
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Re: [Frameworks] Removing turret arm from Bolex h16

[robbie]

Thank you. It is done and now working in the uw housing.
Thanks for your help.

Sent from my iPod

 On Aug 13, 2015, at 11:50 AM, Jean-Louis Seguin bolext...@gmail.com wrote:
 
 One extra detail. The arm has to be folded over to cover the lens opening 
 when doing this.
 
 Jean-Louis
 
 
 On 2015-08-13, at 10:29 AM, Pip Chodorov wrote:
 
 Robbie,
 It's very easy to remove.
 You push in the retractable pin from the side. It's a bit like a toilet roll 
 dispenser.
 There's a spring inside so be careful not to lose it. The best is to 
 reassemble it once you've removed it and to keep it with your camera 
 accessories in case you want to put it back.
 Good luck!
 Pip Chodorov
 
 
 
 At 0:26 + 13/08/15, robbie wrote:
 Hi,
 does anyone know proper/best method of removing the H-16 turret arm from 
 the camera turret?
 im attempting to change camera in underwater housing and must remove this 
 arm to it will fit.
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[Frameworks] Removing turret arm from Bolex h16

[robbie]

Hi, does anyone know proper/best method of removing the H-16 turret arm from 
the camera turret?im attempting to change camera in underwater housing and must 
remove this arm to it will fit.
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[Frameworks] Video Film Solutions in Rockville, MD anybody use them?

[robbie]

Ha s anyone used Video Film Solutions in Rockville Maryland for 16mm film work?
I usually use Colorlab (just next door or across street) but in my process the 
make an answer print for a current project, which is scheduled to screen in 
four weeks, colorlab states over phone today that theyre current turnaround for 
such wont work for my timeline.
Cinelab suggest Video Film Solutions. I think they maybe the old MovieLab or a 
combo.
Regardless, i dont want to gamble with a timer im not familiar with, but at 
current for this small job i may be willing to take that chance.
therefore, any thoughts or experience with this facility? 

thanks,
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Re: [Frameworks] Video Film Solutions in Rockville, MD anybody use them?

[robbie]

thanks Josh.
i may rely on these guys next week. recommended by Cinelab.
i used to use MovieLab until i realized they outsourced their printing to 
another lab and therefore
switched over so i could rapport with the timer., but now, interestingly Video 
 Film Solutions now
does workprinting and answer prints. Happy to hear and look forward to result.

 
robbieland


On Monday, August 18, 2014 5:25 PM, JB Mabe jb.m...@gmail.com wrote:
 


They seem to be old Movie Lab - same address, same(ish) website design
- I've always used Movie Lab (cheapest) and always been happy.


On Mon, Aug 18, 2014 at 4:06 PM, robbie rahb...@yahoo.com wrote:
 Ha s anyone used Video Film Solutions in Rockville Maryland for 16mm film
 work?
 I usually use Colorlab (just next door or across street) but in my process
 the make an answer print for a current project, which is scheduled to screen
 in four weeks, colorlab states over phone today that theyre current
 turnaround for such wont work for my timeline.
 Cinelab suggest Video Film Solutions. I think they maybe the old MovieLab or
 a combo.
 Regardless, i dont want to gamble with a timer im not familiar with, but at
 current for this small job i may be willing to take that chance.
 therefore, any thoughts or experience with this facility?

 thanks,
 robbieland

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Re: [Frameworks] EIKI 3500 Xenon - repair person

[robbie]

KEH near Atlanta fixed my Eiki 3500 Xenon.
it had various issues including electrical. i believe charge was $250
http://www.keh.com/repair-center.aspx

this was two years ago, hopefully the guy, which knows what he's doing, is 
still there.
 
robbieland
On Monday, March 31, 2014 8:38 PM, Jeff Kreines j...@kinetta.com wrote:
 
It all depends on where you are located.  I’ve got a great guy in Montgomery 
Alabama, but shipping that would not be much fun.


On Mar 31, 2014, at 7:09 PM, steve cossman stevecoss...@hotmail.com wrote:

Good evening Frameworkers, 

I recently obtained an EIKI 3500 which is in need of some repair.  The rear 
arm is missing internal mechanisms (which I have been able to locate) but, 
there is some electrical work that needs done and I would appreciate very much 
if you know of a person who has experience with this to please send their 
contact information my way. 

 Thank you so much, 

Steve Cossman

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




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Re: [Frameworks] Answer Prints in North America

[Robbie]

I agree...for west coast try Alpha Cine and for east coast, Colorlab in 
Rockville Maryland. I use Colorlab who provides the color timing I desire and 
quick turnaround for a/b answer print. 

On Sep 3, 2013, at 11:29 AM, ch...@signaltoground.com wrote:

 Hi all,
 
 Any advice on any labs in North America that have a reasonable turn around
 on answer prints from A + B rolls? I'm having a bit of a fly by the seat
 of the pants experience with a month long wait and a looming deadline, so
 I want to hear of any options for the future.
 
 best
 Chris
 
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Re: [Frameworks] contemporary animation texts

[Robbie]

Maureen Furniss was developing a book on animation, not sure if its available 
yet, but sounds good. Includes or is based, I believe on direct app. Animation.
She also has several older animation books.

Sent from my iPod

On Jan 16, 2013, at 3:37 PM, Stephanie Hutin stephanie_hu...@pitzer.edu wrote:

 Hello all,
 
 I am teaching a Contemporary Animation Practices class this semester for the 
 first time.  I have lots of great texts but would love to consider others to 
 supplement my own interests.  Recommendations would be appreciated.  I am 
 currently reading the Fischinger article that someone posted about last week. 
  Thank you!
 
 Best,
 Stephanie
 
 
 
 
 Stephanie Hutin
 Director of Production
 Intercollegiate Media Studies
 Mosbacher Gartrell Center for Media Experimentation and Activism
 Pitzer College
 1050 North Mills Ave., West Hall
 Claremont, CA 91711
 909.607.3889
 stephanie_hu...@pitzer.edu
 
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Re: [Frameworks] new critical studies film course in car culture

[Robbie]

Two for the road.

Sent from my iPod

On Dec 15, 2012, at 3:58 PM, Jack j...@jacktext.net wrote:

 The book lost highways: the illustrated history of the road movie that I 
 co-edited has some essays that may be of interest. 
 Jack
 Sent from my iPhone
 
 On 16/12/2012, at 2:47 AM, Bryan Konefsky bkonef...@gmail.com wrote:
 
 Thanks everyone for your input... still hoping to get a few more film ideas 
 AND suggestions on readings.
 best,
 bryan konefsky
 
 On Fri, Dec 14, 2012 at 2:49 PM, David Dvorchak da...@as220.org wrote:
 Laurel and Hardy is Two Tars
 
 
 On Fri, Dec 14, 2012 at 4:47 PM, Chuck Kleinhans 
 chuck...@northwestern.edu wrote:
 The about to open, On The Road, and an almost endless stream of road 
 movies in Hollywood.
 
 There's a famous Laurel and Hardy film (whose name I forget at the moment) 
 which includes tearing a car apart in a dispute.
 
 Not about film, per se, but in the 1920s the expansion of relatively 
 inexpensive autos created a certain moral panic around cars as mobile 
 bedrooms for young people who could escape being chaperoned.
 
 Chuck Kleinhans
 
 
 
 
 
 
 On Dec 14, 2012, at 11:57 AM, Bryan Konefsky wrote:
 
 
  Hello Frameworkers - I am in the early moments of developing a critical 
  studies course that looks at different ways the automobile has been 
  imagined in cinema.  To this end I'd love to hear from ya'll with titles 
  of films that you think might be useful to explore/expand this idea and 
  readings that might also dovetail themes that might be explored.
 
  Do know that my pal Antoni Pinent recently turned me on to a great text 
  titled Car Fetish.
 
  OK, let's hear what ya got!
  best,
 
 
 
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 -- 
 Dave Dvorchak
 AS220 Communications Director
 da...@as220.org
 (401) 831-9327 x121
 
 
 
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 -- 
 Bryan Konefsky
 director, Experiments in Cinema
 presidente, Basement Films
 lecturer, Dept of Cinematic Arts UNM
 visiting lecturer, UCSC
 board of advisors, Ann Arbor Film Festival
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Re: [Frameworks] ektachrome 100d r.i.p.

[Robbie]

I thought kodachrome's demise was tough, but this is really going to change 
things in negative way. 

Sent from my iPod

On Dec 12, 2012, at 2:06 PM, Mike Morris m_alex_mor...@yahoo.com wrote:

 I just saw this here: 
 http://motion.kodak.com/motion/About/The_Storyboard/4294970514/index.htm
 
 I'm not as upset regarding 16mm shooting, since I mostly shoot negative, but 
 for super 8 I really don't know what to do...I know Fuji is stopping 
 manufacture as well, so what, if any, other color reversal options are there 
 without velvia to fill the gap? I suppose one could shoot negative, but then 
 the options only seem to be video transfer or 16mm blowup, which really 
 sucks. This also means no color reversal re-perforations for regular 8...
 
 Mike Morris
 Dallas, Texas
 
 
 
 
 Message: 5
 Date: Wed, 12 Dec 2012 03:38:13 +0100
 From: Paul Krimmer p...@krimmer.at (by way of Pip Chodorov)
 Subject: [Frameworks] ektachrome 100d r.i.p.
 To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
 Message-ID: p0624081dcced9e8e9104@[192.168.1.15]
 Content-Type: text/plain; charset=utf-8
 
 kodak quits the production of the last colour reversal film 
 EKTACHROME 100D in s8, 16 and 35.
 
 havent found an official statement, but my informations are regarding 
 to the 
 schmalfilm-magazine:http://www.schmalfilm-online.de/news/Kodak+stellt+Produktion+des+Ektachrome+100D+ein/1304
 http://www.schmalfilm-online.de/news/Kodak+stellt+Produktion+des+Ektachrome+100D+ein/1304
 
 sad day.
 Paul
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Re: [Frameworks] 8mm resources?

[Robbie]

Spectra processes reg/standard 8mm and paclab as well, both b/w and color 
reversal, but I prefer spectra. Paclab always an issue such as scratches, etc, 
but glad they're there. 8mm is my preferred guage., and thanks to schwind, 
stock is available.

Sent from my iPod

On Aug 17, 2012, at 1:00 AM, Sean Weitzel panaf...@gmail.com wrote:

 http://www.actioncamerasf.com/motion_picture_supplies.php
 
 This is a reputable source. You just need to find processing. 
 http://www.yalefilmandvideo.com will process both b/w neg and possibly 
 reversal color www.dwaynesphoto.com will process just reversal color. I 
 believe http://www.alphacine.com/ will process b/w reversal as well as color 
 reversal.
 
 good luck.
 
 On Thu, Aug 16, 2012 at 8:08 PM, Mike Kartje mkar...@siu.edu wrote:
 Literally just pulled my old Brownie off the shelf and was wondering the same 
 thing. Anyone tried these folks?
 
 http://www.myoldcamera.com/Regular8mm.html
 
 Looks like they offer film sales and processing.
 
 Mike
 
 
 
 
 On 08/16/2012 08:46 PM, ev petrol wrote:
 hey folks
 have a friend in new orleans who's got his hands on an 8mm camera and is 
 wondering where to get stock / get it developed - any leads?
 thanks! moira
  
 moiratierney.net
 vimeo.com/moiratierney
 
 
 
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Re: [Frameworks] Looking to buy ALL 16mm film

[robbie]

call Kodak and Fuji and speak to your local or local-ish rep. if you can not 
get samples, contact 800-621-FILM with your order needs. youll provide your 
student i.d. via email to kodak and receive 30% discount. if, still too pricey, 
call or drop by some film production houses or labs that work in 16mm to 
inquire for short-ends (unused film from productions). i also find 16mm deals 
on craiglist at times.
 
robbieland



 From: Jason Stauffacher jasonstauffac...@gmail.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com 
Sent: Wednesday, June 20, 2012 7:07 PM
Subject: Re: [Frameworks] Looking to buy ALL 16mm film
 

Mason, here is the info for Kodak's film ordering: 1-800-621-3456


On Thu, Jun 21, 2012 at 2:44 AM, Mason Shefa msh...@gmail.com wrote:

Yeah I'm a student


Mason Shefa
Yale University
Jonathan Edwards College '15
818.517.9061 | mason.sh...@yale.edu
www.masonshefa.com

On Jun 20, 2012, at 9:53 AM, Mariah Garnett mariah.garn...@gmail.com wrote:


Kodak is indeed still alive and kicking. They also have great student deals 
and have been known to donate film to projects if you speak with the student 
rep (you are a student, right mason?)


On Jun 19, 2012, at 19:32, 飯村隆彦 iim...@gol.com wrote:


This is wrong mail address.


On 2012/06/20, at 8:08, Jason Stauffacher wrote:

Mason: I called Kodak in California for you.  They do sell the 16mm stock.  
Do you wish me to give you the line  for Kodak's film division?  -Jason


On Wed, Jun 20, 2012 at 6:59 AM, Jason Stauffacher 
jasonstauffac...@gmail.com wrote:

Does not Kodak still sell it?  I get my Super8 stock from there.  You may 
want to call them.  I have the US California number if you are so 
interested.  -Jason



On Wed, Jun 20, 2012 at 3:54 AM, Mason Chadwick Shefa msh...@gmail.com 
wrote:

Unshot film


On Jun 19, 2012, at 12:48 AM, Jason Stauffacher wrote:

May I ask what you mean by film stock?  


On Tue, Jun 19, 2012 at 3:11 PM, Mason Chadwick Shefa msh...@gmail.com 
wrote:

I'm sorry I meant film stock. 


On Jun 18, 2012, at 4:20 PM, Jason Stauffacher wrote:

There is a lot on Ebay that have full movies.. 
-Jason


On Tue, Jun 19, 2012 at 6:45 AM, Mason Chadwick Shefa 
msh...@gmail.com wrote:

Hi everyone!

This is my first time back in this group since I left last fall 
(after the whole attachment scandal and facebook page exodus Lol.)

Anyway, I'm looking to buy a boatload of 16mm film for a film I'm 
working on. Does anyone have a lot of film they are willing to 
sell/give away to a young filmmaker? It doesn't matter what kind of 
film, really, but if I had to have a preference, I would say black 
and white.

Looking to buy a lot.

Thanks, and I'm glad to be back on the list.

Mason Chadwick Shefa
Yale University, '15
Jonathan Edwards College
www.masonshefa.com
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Takahiko iimura
iim...@gol.com
Brog(Japanese) http://takaiimura.sblo.jp/
Brog(English) http://takahikoiimua.sblo.jp
HP(English/Japanese):http://www.takaiimura.com/
NewDVD:http://www.takaiimura.com/Sale.html




 

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Re: [Frameworks] paclab

[Robbie]

Thank you for the update on paclab. I'm glad they're still in business offering 
b/w and Ekta rev. Processing at quite reasonable prices, but my recent 100D 
ektachrome processing was questionable and therefore with a current 500' of the 
same i will be sending elsewhere tomorrow. Although, PacLab has done a great 
job with my trix reversal. So, I will continue my support/processing with them 
for b/w reversal.

Sent from my iPod

On Apr 18, 2012, at 3:27 PM, ev petrol epetr...@yahoo.com wrote:

 hey folks
 stuck with paclab as long as i could, but my last batch came back with 
 chemical stains, i'll be using cinelab  duanes from now on
 passing it on, for what it's worth! think i'm probably not the first to come 
 to this conclusion ...
 cheers moira
  
 www.moiratierney.net
 
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Re: [Frameworks] Tobin intervelometer power supply?

[Robbie]

Try Duall camera. They have the smaller packs for this motor. Although, I like 
the heavier belt you mention. I use it as a weight for the tripodcamera when 
using TTL out in field..over night etc.

Sent from my iPod

On Apr 6, 2012, at 2:15 PM, Caryn Cline carynycl...@gmail.com wrote:

 Hi Everyone,
 
 Our school has one Tobin Time Lapse Motor for a Bolex H-16.  The only power 
 source we have is a big heavy battery belt (which we normally use to power 
 our Arri cameras).  Is there a different/better/lighter power source that 
 would work with the 4-pin xlr connector?
 
 Thank you for any help or advice.
 
 CC
 
 -- 
 Caryn Cline
 Filmmaker and Teacher
 New York City and Seattle, WA
 vimeo.com/carynyc
 
 
 
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Re: [Frameworks] Negative Cutter

[Robbie]

Perhaps ask your lab if they can suggest someone. I use a guy in mass. Named 
Matthew. Sorry, I don't currently have his last name nor contact info, but can 
look if you need. 

Sent from my iPod

On Feb 6, 2012, at 5:18 PM, Jeff Kreines jeffkrei...@mindspring.com wrote:

 While I have always felt you should cut your own negative, since you are on 
 the east coast, Noelle Penraat is very good. She still does projects, but now 
 works at home since there is a lot less negative cutting being done.  She's 
 in NYC, probably in the phone book. 
 
 
 
 On Feb 6, 2012, at 3:43 PM, Alex alex.mccar...@gmail.com wrote:
 
 I'm in Philadelphia.
 
 Alex
 
 On Feb 6, 2012, at 4:36 PM, Ryan Marino ryandmar...@gmail.com wrote:
 
 Where are you located? 
 
 On Mon, Feb 6, 2012 at 4:35 PM, Alex alex.mccar...@gmail.com wrote:
 Also I want to send them a workprint to work off of.
 
 Alex
 
 On Feb 6, 2012, at 4:33 PM, Alex alex.mccar...@gmail.com wrote:
 
  Hey,
 
  I'm looking to be recomended a good negative cutter.
 
  Thanks a lot,
  Alex
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 -- 
 www.ryanmarino.com
 www.imminentfrequencies.com
 
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[Frameworks] For those of you in the Seattle area this Thursday

[Robbie]

http://nwfilmforum.org/live/page/calendar/1959


Third Eye Cinema
Dec 01

Co-presented by Third Eye Cinema

Thursday, Dec 01 at 07:00PM

Robbie Land’s 16mm films provide a personal vision of the southeast United 
States, re-imagining our familiar surroundings, both natural and man-made. His 
unusual methods include pasting plant life and other items directly on to the 
filmstrip to painstakingly create vibrant, colorful and haunting imagery. 
Program includes: Precipice—An unconventional dance film that achieves a 
pointillist study of motion;Old Florida Salt Marsh—Combining video footage cut, 
glued and taped directly to the celluloid; Micanopy Winter Wonderland—Featuring 
an antique jukebox converted into a diorama; Betty Creek—A portrait of the 
plant life located in the Appalachian Mountains; Bioluminescence—Uses direct 
application, time-exposure and micro-cinematography to magnify the beauty of 
nighttime phenomenon.





 
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Re: [Frameworks] Where to send Super 8 Ektachrome G160 7240 for processing, please?

[Robbie]

Try Yale lab. I beleive they provide a once a month 7240, but may have to e6 
your g160 at rocky mountain film lab...if they're still open. Although, Yale 
may have a solution for that as well. Also try prep film service too. Should be 
able find via google.

Sent from my iPod

On Nov 14, 2011, at 2:52 PM, bridget irish bridgetir...@hotmail.com wrote:

 Dear Frameworkers,
 
 I see Dwayne's does not provide processing for
 Super 8 Ektachrome G160 and Ektachrome 7240
 so am wondering, please, if there is somewhere to have this done...
 
 Thanks so much,
 Bridget Irish
 Olympia, WA
 
  
 
  
  
 
 
 
 
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Re: [Frameworks] JK printer settings for 8mm to 16mm blowup

[Robbie]

I use a 50mm el nikkor and h16 rx4. With The distance for full frame film plane 
to lens mount is approx. 5.5 inches and distance of front on lens to film image 
is 3 to 3.5 inches. This is for full frame. Once I'm within this labelled full 
frame area for super8, i fine focus, of course using focus/camera adjusting 
knob (not lens knob) with lens completely open, then focus through bolex view 
finder. Once image in focus, I lock the knobs and stop down lens to proper 
f/stop. Usually range f/8 - 16 , which will provide larger depth of field.

Sent from my iPod

On Oct 10, 2011, at 9:47 PM, John Woods jawood...@yahoo.ca wrote:

 Hi Frameworks, I'm at last attempting to do some Super 8 blowups to 16mm but 
 am confounded at finding the right printer/lens/bellows configuration. I've 
 attempted to do the setup recommended by JK at: 
 http://www.jkcamera.com/digital_instr_.htm
 with no luck, I just get a blurry grey image. I'm using a 50mm lens and tube 
 extensions on a K-103 model.
 
 If anyone has any tips or could share with me a workshop manual being used by 
 your school/co-op it would be greatly appreciated! I've found a few official 
 manuals online but none that go into detail about doing blowup work.
 
 Thank you.
 
 John
 
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