Re: [Frameworks] experimental/feminist films with a woman's voice-over narration?

[Abigail Severance]

It’s true: your request covers thousands of films... look up on Fandor, Mubi, 
Ubuweb ...
Or just look up your favorite women makers & see where they’ve used narration. 
They certainly won’t all be female narrators/speakers, but many, many will. 

***
Abigail Severance
310-508-0352
abigailseverance.com

> On Nov 2, 2017, at 12:24 PM, lagonaboba <lagonab...@gmail.com> wrote:
> 
> It seems to me that the list of such films rather long, given the number of 
> women making films.
> 
> Hermine Freed Art Herstory
> Vanalyne Green’s worksSpy in the House that Ruth Built
>   Saddle Sores
> Sadie Benning’s works
> Moira Davey’s work
> Trinh T. Minh-ha ’s works
> Yvonne Rainer’s works
> 
> and
> 
> Robert Harris  Coyote
> Chris Marker  Sans Soleil
> 
> Look at the Women Make Movies catalog
> 
> 
> 
>> On Nov 2, 2017, at 10:42 AM, Ben Ogrodnik <ben.ogrod...@gmail.com> wrote:
>> 
>> Hi all,
>> 
>> I am requesting some film suggestions for a list of experimental, 
>> independent, and/or feminist-leaning films that contain a woman -- or 
>> multiple women -- providing voice-over narration to the images.  
>> 
>> The works can be from any era, in any format: documentary, animation, 
>> fiction, found-footage, anthropological, installation-based, etc.
>> 
>> Some well-known examples of this tradition would be: Laura Mulvey and Peter 
>> Wollen's Riddles of the Sphinx, 1977; Michelle Citron's Daughter Rite, 1978; 
>> or Su Friedrich's Sink or Swim, 1990.
>> 
>> Any examples of woman-voiced films that may be lesser known, or made outside 
>> EuroAmerican settings, would be greatly appreciated as well!
>> 
>> Thanks so much.
>> 
>> Sincerely,
>> Ben 
>> 
>> -- 
>> Ben Ogrodnik
>> Department of Film Studies // History of Art and Architecture
>> University of Pittsburgh
>> ___
>> 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] Seeking advice for licensing a 1929 film owned by Warner Brothers

[Abigail Severance]

Thanks, Dennis, super helpful.


***
Abigail Severance
310-508-0352
abigailseverance.com

> On Jul 15, 2017, at 2:13 PM, Dennis Doros <milefi...@gmail.com> wrote:
> 
> Dear Abigail,
> 
> That's not true --MGM never got it right on this set of titles from UA. In 
> 1936, UA's Art Cinema (Joe Schenck's productions) was dissolved with half of 
> the films being transferred to Mary Pickford. The rights to Evangeline now 
> belong to the Mary Pickford Foundation. (My company, Milestone, brought it 
> out on DVD some years ago but the rights have reverted to MPF.) You can find 
> them on the web with their contact info.
> 
> Best regards,
> Dennis Doros
> Milestone Film & Video
> PO Box 128 / Harrington Park, NJ 07640
> Phone: +1 201-767-3117 / Email: milefi...@gmail.com
> www.milestone.film
> 
> JOIN OUR MAILING LIST TODAY!
> Support us on Facebook and Twitter!
> 
>> On Sat, Jul 15, 2017 at 4:34 PM, Abigail Severance <bellec...@mac.com> wrote:
>> Hi All, 
>> 
>> I'd appreciate any leads or suggestions on the following, including any 
>> referrals to contacts at Warner Brothers distro or licensing.
>> 
>> I'm trying to license some clips, for use in a new essay film, from the 
>> Hollywood feature Evangeline, released by United Artists in 1929, starring 
>> Dolores del Rio, directed/produced by Edwin Carewe under his Fox Pictures 
>> company. The Library of Congress’s lists of films in the public domain 
>> doesn't include Evangeline; it's still a protected work. When I contacted 
>> MGM, who bought United Artists in 1981, they said Warners now holds the 
>> copyright. I’ve not had luck hearing back from Warner Brothers though I’ve 
>> called and emailed their general imaging/clip source office several times.
>> 
>> Thanks for any thoughts,
>> Abigail
>> 
>> --
>> Abigail Severance 
>> Faculty, CalArts School of Film/Video
>> bellec...@mac.com || asev...@calarts.edu
>> www.abigailseverance.com || 310-508-0352
>> 
>> 
>> ___
>> 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] Seeking advice for licensing a 1929 film owned by Warner Brothers

[Abigail Severance]

Hi All, 

I'd appreciate any leads or suggestions on the following, including any 
referrals to contacts at Warner Brothers distro or licensing.

I'm trying to license some clips, for use in a new essay film, from the 
Hollywood feature Evangeline, released by United Artists in 1929, starring 
Dolores del Rio, directed/produced by Edwin Carewe under his Fox Pictures 
company. The Library of Congress’s lists of films in the public domain doesn't 
include Evangeline; it's still a protected work. When I contacted MGM, who 
bought United Artists in 1981, they said Warners now holds the copyright. I’ve 
not had luck hearing back from Warner Brothers though I’ve called and emailed 
their general imaging/clip source office several times.

Thanks for any thoughts,
Abigail

--
Abigail Severance 
Faculty, CalArts School of Film/Video
bellec...@mac.com || asev...@calarts.edu
www.abigailseverance.com || 310-508-0352

___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] portrayals of "the future" in animation and experimental film?

[Abigail Severance]

Stephanie,

I'd suggest Laura Kranings's Meridian Plain, Adoma Owusu's Drexciya, Cauleen 
Smith's The Changing Same, and Nicolas Rey's differently, Molussia. The last 
would really depend on the age of the children you imagine seeing the traveling 
program.

Abigail

***
Abigail Severance
Faculty, CalArts School of Film/Video
310-508-0352
aseve...@calarts.edu | bellec...@mac.com

> On Jan 12, 2017, at 1:42 PM, Stephanie Hutin <stephanie_hu...@pitzer.edu> 
> wrote:
> 
> Hello,
> 
> I am teaching an experimental animation class with a social justice focus 
> this semester. We will be creating a touring program for children around the 
> theme of "The Future". I plan to start our first day (Thursday 1/19) with 
> some free-writing about their thoughts on the future, followed by some 
> examples of what artists in experimental cinema and animation have made in 
> their vision. Any films that you think may fit my lesson, would be much 
> appreciated as well. 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
> 
> ___
> 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] portrayals of "the future" in animation and experimental film?

[Abigail Severance]

Gene, 

Opinions are one thing and I agree with some of your here, but wow this is some 
serous mansplaining. 

Abigail


> On Jan 12, 2017, at 2:54 PM, Gene Youngblood  wrote:
> 
> Some uninvited comments and observations, for what they’re worth: 
> 
> 1. Probably more than 99% of all “future” narratives are either unimaginative 
> dystopias (the author has no vision of how things might be better) or they 
> are uncritical New Age utopias. 
> 
> 2. The phrase “unimaginative dystopia” is redundant because dystopia is 
> unimaginative by definition.
>  
> 3. Utopia is desire for transformation at the root, which means it’s radical 
> desire (radix = root). No desire is naive. Only expectations are naive.
> 
> 4. Never predict, always prescribe or keep quiet.
> 
> 5. Dystopias are predictions, because people without vision don’t know what 
> to prescribe; uncritical utopias are nothing but wish-pictures. 
> 
> 6. The value of the desire called utopia is that it begs the question, how do 
> we get from here to there? What would have to happen to bring about 
> transformation at the root? That’s the vision few have and all of us need, 
> especially now. 
> 
> 7. I personally would never expose children to dystopias or wish-pictures 
> without framing them in a radical political context that starts the kids 
> thinking about how to get from here to there. If you don’t do that, it’s just 
> entertainment. 
> 
> 8. A prime example of unimaginative dystopia rendered with great artistic 
> imagination is Chris Marker’s La Jetee. Never forget that he was an old left 
> radical.
> 
> 
>> On January 12, 2017 at 2:54:57 PM, Stephen Anker (san...@calarts.edu) wrote:
>> 
>> Hi Stephanie,
>> Sheila Sofian (USC) has more than one animated film that deals with abuse, 
>> among other issues.
>> ssof...@cinema.usc.edu 
>> Suzan Pitt's Joyless Street deals with depression, although that might be 
>> too far afield.
>> Check with me again in case I think of others.
>> Best, Steve Anker
>> 
>> 
>>> On Thu, Jan 12, 2017 at 1:42 PM, Stephanie Hutin 
>>>  wrote:
>>> Hello,
>>> 
>>> I am teaching an experimental animation class with a social justice focus 
>>> this semester. We will be creating a touring program for children around 
>>> the theme of "The Future". I plan to start our first day (Thursday 1/19) 
>>> with some free-writing about their thoughts on the future, followed by some 
>>> examples of what artists in experimental cinema and animation have made in 
>>> their vision. Any films that you think may fit my lesson, would be much 
>>> appreciated as well. 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
>>> 
>>> 
>>> ___
>>> 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] looking for film about Walter Benjamin's suitcase

[Abigail Severance]

I’m searching for a documentary on Walter Benjamin’s infamous missing suitcase, 
the one he’s thought to have carried with him to Spain before his suicide. 

Does anyone know the title, maker and/or distribution source for this film?

Thanks very much,
Abigail Severance


___
Abigail Severance 
bellec...@mac.com | abigailseverance.com | 310-508-0352



___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] Dan McLaughlin e-mail

[Abigail Severance]

Hi Alexandre, 
Sad news: I’ve just now read on Facebook that Dan McLaughlin recently passed 
away. It was posted by someone on the UCLA faculty. I’m sorry, I don’t have any 
more details, but saw that you were trying to reach him and wanted to let you 
know. My condolences.
Abigail


--
Abigail Severance 
CalArts Film Directing Program
bellec...@mac.com || asev...@calarts.edu 

On Mar 16, 2016, at 6:05 PM, a...@lafilmforum.org wrote:

> When I contacted him a few years ago for our series Alternative
> Projections, he was retired, in a retirement home, but ok and painting.  I
> visited him there (in Woodland Hills, CA)  He came to a screening where we
> showed work, driven by his son.  When I am on another computer, I'll see
> what contact info I have, but I'm pretty sure McLaughlin himself has no
> email.
> 
> Best regards,
> 
> Adam Hyman
> Los Angeles Filmforum
> 
>> Dear FrameWorkers,
>> 
>> Can someone please send me Dan McLaughlin's email contact (off list)?
>> 
>> Thank you,
>> Alexandre
>> 
>> "Dan McLaughlin was the area head of the UCLA School of Theater, Film and
>> Television’s Animation Workshop [...], from 1970 until his retirement in
>> 2007. »
>> 
>> http://www.tft.ucla.edu/2012/03/dan-mclaughlin/
>> <http://www.tft.ucla.edu/2012/03/dan-mclaughlin/>___
>> 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] 16mm telecine in LA

[Abigail Severance]

Who are people using nowadays for 16mm telecine in L.A., besides Fotokem? 

Thanks,
Abigail


***
Abigail Severance
310-508-0352
abigailseverance.com




___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] Alternative Projections: Experimental Film in Los Angeles, 1945-1980 book coming soon

[Abigail Severance]

Hi Adam, 

Do you mean we should let you know if we’re interested in the screening series?
I am.

Thanks,
Abigail

--
Abigail Severance 
Faculty, Film Directing Program
Associate Dean, External  Student Affairs
CalArts School of Film/Video
24700 McBean Pkwy, Valencia, CA 91355-2340
310-508-0352 || asev...@calarts.edu or bellec...@mac.com || 
http://film.calarts.edu


On Jan 21, 2015, at 8:43 PM, Adam Hyman a...@lafilmforum.org wrote:

 Coming out soon:
 
 http://www.amazon.com/Alternative-Projections-Experimental-Angeles-1945-1980/dp/0861967151
 
 We will also be putting together a four or five program screening series to 
 accompany for anyone interested.  Please let me know.  Thanks!
 
 Best regards,
 
 Adam
 
 
 -- 
 Adam Hyman
 Los Angeles Filmforum
 143 N. Commonwealth Ave. #3
 Los Angeles CA 90004
 http://www.lafilmforum.org
 a...@lafilmforum.org
 +1-213-386-8482
 +1-323-377-7238 (Filmforum cell)
 +1-323-807-4202 (personal cell)
 ___
 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] CalArts School of Film/Video seeks Equipment Supervisor

[Abigail Severance]

PLEASE POST.

CALARTS SCHOOL OF FILM/VIDEO

EQUIPMENT SUPERVISOR

Position Category: Non-Academic

Position Title: Equipment Supervisor 

School/Department: Film/Video

Reports To: Associate Dean, Finance  Operations 

Time: Full Time 

Term of Employment:

 

INFORMATION  RESPONSIBILITIES

The Equipment Supervisor oversees and maintains facilities and production 
equipment used by faculty, staff, and students.



ESSENTIAL JOB FUNCTIONS

• Responsible for the checkout and maintenance of equipment for film, video, 
audio production and facilities used by students, faculty, and staff for 
classroom and project use.

• Supervise the Equipment Coordinator and Cage Technician.

• Supervise and train student assistants in the operations of the School of 
Film/Video Equipment Cage.

• Establish and implement operational policies and procedures for the use and 
day-to-day running of the Equipment Cage and works within the Equipment Cage on 
a daily basis to ensure quality and functionality of the facility including 
interacting with Cage student workers, faculty, staff and student clients.

• Research and recommend equipment purchases for the Cage and related 
facilities. 

• Maintain the computerized database system used for reservations and checkout, 
billing and inventory. Provide an annual equipment inventory report. 

• Evaluate and analyze use of equipment and facilities. 

• Assign student studio rooms and lockers and oversee their use.

• Meet with students to discuss thesis projects as part of the School of 
Film/Video Preliminary Thesis Review process.

• Provide remedial instruction to students in technical use of equipment 
available through the Cage, as needed.

• Troubleshoot equipment problems along with the in-house maintenance 
technician. Arrange for the repair of equipment with outside vendors. 

• Keep abreast of new technological developments in the production and 
post-production sectors.

• Make arrangements for special equipment as required for classes, guests 
artists or individual projects.

• Maintain compliance with the School of Film/Video’s safety policies and 
promote standards for security conscious awareness and behavior. 

• Provide information and support School of Film/Video technical websites and 
other social media sites used to inform users about the Cage.

• Maintain technical literature including operations manuals as needed by 
students and faculty.

• Participate in School of Film/Video committees on matters pertaining to 
equipment and maintenance.

• Attend School of Film/Video faculty meetings and weekly technical 
faculty/staff meetings.



REQUIREMENTS

• Ability to work with students, faculty and staff within an art school 
environment. 

• Strong supervisory skills. 


QUALIFICATIONS

• A combination of work experience and an Associate’s degree required. 
Undergraduate degree in fine arts or related field desired.

• Excellent working knowledge of equipment used for digital and 16mm 
productions including digital video cameras, 16mm cameras, lights, grip, 
filters, camera support equipment for digital and film shoots, audio recording 
equipment, and video projectors.

• Three years relevant experience in digital and film technical production 
support.

• Individual must have strong organizational and interpersonal skills.

• Experience with 2K/4K digital workflows and 16mm filmmaking. 

• Experience with digital video cameras and16mm cameras, 16mm and 35mm flatbeds 
and film and video projectors.

• Experience with a wide range of lenses, lights, filters, grip and camera 
accessories and support items.

• Experience with sound equipment including hard-drive recorders, mixers, and 
microphones.

• Experience with Mac computers and operating system.

 

HOW TO APPLY

This position is available immediately. If you are interested, please submit a 
cover letter and resume to rk...@calarts.edu. Please indicate in the subject 
line: Equipment Supervisor in order to be considered.

 

EQUITY  DIVERSITY

CalArts is proud of its diverse student body and deeply committed to supporting 
the cultural and artistic aspirations of all its students. A commitment to 
increasing opportunities for low-income students and currently disenfranchised 
groups is necessary, as is the desire to work to support institutional goals of 
equity and diversity in an ongoing way. CalArts is an Equal Opportunity 
Employer (EOE).

In our efforts to reach a diverse application pool, please follow the link to 
fill out an optional survey: http://www.surveymonkey.com/s/Eq_Div



FURTHER INFORMATION

CalArts has a multidisciplinary approach to its studies of the arts through six 
schools: Art, Critical Studies, Dance, Film/Video, Music and Theater. CalArts 
encourages students to explore and recognize the complexity of the many aspects 
of the arts. It is supported by a distinguished faculty of practicing artists 
and provides its Bachelor and Master of Fine Arts students with the hands-on 
training 

Re: [Frameworks] Islands in experimental film and video

[Abigail Severance]

Two works by recent MFA alumni at CalArts:
Field Notes by Vashti Harrison (vashtiharri...@alum.calarts.edu)
The Isle of Piritu by Edgar Jorge Baralt (edgarjo...@alum.calarts.edu)

Abigail Severance 
Faculty, Film Directing Program
Associate Dean, External  Student Affairs
CalArts School of Film/Video
asev...@calarts.edu || http://film.calarts.edu || 310-508-0352

On Jun 22, 2014, at 2:31 PM, Pigott, Michael wrote:

 Dear Frameworkers,
  
 I'm putting together a piece about the use of islands as locations in recent 
 experimental film and video. I'm focussing on Ben Rivers' Slow Action and 
 Simon Faithfull's Stromness. I am building a list of other work that involves 
 islands at the moment, and I would be very grateful for your suggestions of 
 other experimental and artists' work (recent or historical) that are about 
 islands or use islands as locations.
  
 Thanks in advance!
  
 Michael Pigott
  
 ___
 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] banned films?

[Abigail Severance]

A few years back the state of Michigan cut funds to the Ann Arbor FF, citing a 
list of 'pornographic' films the festival had programmed. (Some of the films 
had sex and some didn't.) AAFF fought it in court and won. I'm sure there's a 
list of the films somewhere...

More here:
http://www.npr.org/templates/story/story.php?storyId=9015524
http://www.indiewire.com/festival/ann_arbor_film_festival

On Mar 28, 2014, at 6:43 AM, Scott Stark wrote:

 Hi friends, I'm looking for ideas for a banned films program for a local 
 (Austin) erotica-based film festival. Flaming Creatures is definitely top of 
 the list. Any ideas for other films that have been banned, censored or 
 otherwise disparaged for risque content? (experimental preferred)
 
 thanks,
 Scott
 
 
 ___
 FrameWorks mailing list
 FrameWorks@jonasmekasfilms.com
 https://mailman-mail5.webfaction.com/listinfo/frameworks

___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] films/videos using/made up of text

[Abigail Severance]

James Bennings's Four Corners.

Sadie Benning's pixelvisions.

Adele Horne's Maintenance.

David Gatten's Extravagant Shadows.

In a sense, Yoko Ono's film instructions?

Also, my 2002 film Siren, which uses text from a 19th c sailing guide.


***
Abigail Severance
310-508-0352
abigailseverance.com

On Nov 14, 2013, at 12:48 PM, nicky.ham...@talktalk.net wrote:

 Sue Friedrich: Gently down the stream,
 
 Nicky.
 
 
 
 -Original Message-
 From: Shelly Silver silver...@earthlink.net
 To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
 Sent: Thu, 14 Nov 2013 17:42
 Subject: [Frameworks] films/videos using/made up of text
 
 dear collective knowledge base folks:
 i'm compiling a list of works using text/made up of text.  i'm especially 
 interested in works by women.
 
 thank you!
 
 best,
 shelly
 ___
 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] Literature on james benning

[Abigail Severance]

James Benning / Two Cabins

On Jul 7, 2013, at 6:36 AM, Ben Gwilliam wrote:

 Was wondering if anyone knew about any literature or online critique on the 
 films of James Benning, specifically on the experience of looking and 
 anything about his sound design. Mucho apprecio!
  
 Ben
  
 www.thosesoundsbetween.co.uk
 ___
 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] Exposure question

[Abigail Severance]

If I'm understanding the set up, the illuminated monitor works like a light source, so you would use a spot meter to measure the intensity of the illuminated/reflected video image. Many film SLRs have one built in.One issue to consider is if the monitor itself (beyond the edges of the screen) is also part of the new film-still image, in which case you'd want to measure that area with an incident meter and see if your stock's latitude can hold both, and if so, what stop to set to keep detail in both the very bright screen and the less bright monitor. ND gel over the screen would bring down the brightness if you need to get it closer to the monitor reading. Be sure meters are set to still image reading, not "cine" setting.Abigail
 sent from abigail severance's cloud  bellec...@mac.com  310.508.0352  www.film.calarts.eduOn Nov 01, 2012, at 06:07 PM, Lawrence Brose lawrencebr...@gmail.com wrote:I have a student who wants to shoot stills off of a video monitor on film (still camera) and has asked about what correction he should make regarding the light meter reading. It has been a long time since I have done this so any suggestions are greatly appreciated.   Thank you,  Lawrence___ 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] Optical Printing, Contact Printing and Rotoscoping Wizards NEEDED for space pirates claymation

[Abigail Severance]

My computer isn't gay, but it/she/v/he IS transitioning genders, which makes it 
hard for her/shim/him to know what public bathroom to use day to day. That's so 
trans.
_
Abigail Severance

Los Angeles



On Aug 22, 2012, at 9:00 AM, graeme hogg wrote:

 
 
 Yeah, the computers that control Optical Printers, they're pretty gay 
 aren't they.
 
 
 
 Ben
 
 Sounds like a very interesting project and I commend you for working on 
 16mm but curious what's gay about using a computer? Sounds like 
 something quite negative since its something you refuse to do?
 
 I've just never heard someone refer to using computers as gay.
 
 I personally love 16mm and have made several films in that format. I can 
 also see why computers can be so detesting to celluloid lovers but have 
 a hard time understanding why that term was used.
 
 It would sound pretty bad if someone said I refuse to do this on a 
 computer because that's so girly or sissy or that's so black. That 
 would sound pretty sexist or racist, no?
 
 I just wanted to leave you with some food for thought.
 
 Sonali
 
 On Aug 22, 2012, at 2:04 AM, ben.weinst...@mindspring.com wrote:
 
 Hey just wanted to get some advice for doing some very complicated 
 special FX on 16mm film.  I am going to be making a space pirates 
 claymation film in the near future and I want to do some very 
 complicated optical printing and rotoscoping FX shots.  I know that CRI 
 film stock no longer exists but i am going to be filming model 
 spaceships in front of a black or bluescreen and I want to know what is 
 the best way to go about this without getting any generation loss on my 
 film.  I will have to combine many layers of film on an optical printer 
 and then I will also have to rotoscope in lazer beams and stuff like 
 that so how would I go about that without making my FX shots look super 
 grainy?  I refuse to do this on a computer because thats gay so any 
 advice would be much appreciated.  I think i will be doin this all in 
 the bay area so anyone who wants to help out should do so because its 
 going to take a lot of work and I think it could be really sick if we 
 do it right.  If none of this is possible then I am going to quit 
 filmmaking and cut my lines so tell me what I got to do so I can make 
 this movie great.
 ___
 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