Re: [Frameworks] Eyemo camera repair
Your question reminded me of this blog post where someone disassembles an Eyemo. The writer might be able to help you. Plenty of detailed pictures for camera loves to enjoy: cinetinker: Inside a Bell & Howell Eyemo | | | | | | | | | | | cinetinker: Inside a Bell & Howell EyemoAmong wind-up cameras Bell & Howell's 35mm Eyemo (and its 16mm brother the Filmo) stand apart, as products of the highest technical standards. | | | | View on cinetinker.blogspot.be | Preview by Yahoo | | | | | ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] black mask on colour print film
I know its not as cool as doing it all photo-chemically, but this sounds like a very good job for a digital intermediate. From: Bernd Luetzeler fi...@gmx.de To: Experimental Film Discussion List frameworks@jonasmekasfilms.com Sent: Monday, May 18, 2015 4:55 AM Subject: Re: [Frameworks] black mask on colour print film yes exactly that’s what we did, but the mask wasn’t always 100% centered, As a result, when zooming in, it shifted out of the center. The person behind the camera didn’t take that too serious in the beginning, so in some material the mask goes way out of center. After seeing the first rushes we took more care and avoided the same mistake in later material. But I spoke to the lab, and since we are going to do blow-ups from 16 to 35, they said that the horizontal position can be shifted a bit. So I guess that is what we will do. I was also thinking about putting a mask into that blow-up printer, but since we expose from negative, the mask would need to be white (light) and not black. I guess there aren’t some many other options… Bernd On 18-May-2015, at 17:11, Scott Dorsey klu...@panix.com wrote: Matte box on the camera shooting the original material??? --scott ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Kodak Canada, 2010 Sales numbers
Well Chris, some fair questions to put this in context but I will chastise you for not knowing the population of your own country! There are 35 million people in Canada. These numbers reflect provinces with 10 million people and the majority of production is in Vancouver, B.C. with the common number of about $1 billion in annual production (mainly by American productions). In Eastern Canada, Toronto has a similar amount of spending to Vancouver ($1.2 billion) but with more domestic production. The province of Quebec has about $700 million in production. I've read that overall, Canada has about $5 billion in film tv production but that includes money from the U.S and co-productions with the U.K., France, etc. In North America, the only cities with more film production than Vancouver and Toronto are New York and Los Angeles. I couldn't find any hard numbers on the leader, L.A., but in California the general number for the film industry is $25 billion and the overall U.S. production amount is $50 billion (with some money being spent in Canada, Europe and wherever else they feel like). On Friday, October 17, 2014 8:37 AM, direc...@lift.on.ca direc...@lift.on.ca wrote: 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___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
[Frameworks] Kodak Canada, 2010 Sales numbers
Back in 2011, when we were looking into whether or not to revive a Pako multi-guage film processor we had been given, we had talks with the local Kodak rep about stock sales. I recently stumbled upon this information and in light of the recent stock discontinuations, Kodak's bankruptcy issues and the Ferrania project, I think you will find the numbers interesting. 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 Super8.. the sales for 2010 follow this order: 1. Extachrome with 240,000ft 2. B/W Reversal with 230,000ft 3. Color Negative Stocks with approx. 75,000ft 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 ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] processing 16mm colour negative
I've never done colour in a Morse but your times seem too short. As I recall the Morse tank is about triple the amount of time you would need in a dunk or spiral tank because the film is contact with the chemistry for such a short time. For example, for Tri-X the first developer is 6 minutes but in a Morse its 18 minutes or 18 passes (I'm going by Martin Baumgarters notes on the Morse). John On Sunday, September 7, 2014 6:45:08 AM, he...@theria.ca he...@theria.ca wrote: Sorry for the late reply. I have been looking for my notes, which are packed away somewhere at the moment. It's been about a year since I've processed anything, so from memory, it goes something like this: All temperatures, were according to the press kit. 1) 2min wash. 2) 4min Sodium Sulphite solution for remjet removal. 3) 3min wash (a second, if it looks like there's still more remjet hanging around) 4) 5:30min developer 5) 3min Wash 6) 11min ish Blix 7) 6min Wash, fresh water per pass. 8) Two passes for stabilizer 9) Played with two passes of photo flo, due to persistently sticky film. It might work, but needs more testing. I'm curious about the PB-2 formula you mentioned. Herb On 05.09.2014 18:09, Roger Wilson wrote: Hi folks, I was wondering if anyone on this list has some times for processing kodak colour negative 16mm film in a Morse G3 tank using Jobo C-41 Press Kit? This is what I have been doing and find the contrast to be lower then I had expected. I process 100' rolls. FIRST RUN THROUGH PB-2 FORMULA TO REMOVE REMJET - 4 minutes: equaling 4 passes - temp- 38 Celsius RINSE WITH WATER 5 MINUTES: equaling 6 passes using fresh water per pass - temp- 38 Celsius DEVELOPER: 7 minutes equaling 7 passes - temp- 38 Celsius 2ND RINSE: 6 minutes equaling 8 passes using fresh water per pass - temp- 38 Celsius BLIX: 12 minutes equaling 12 passes - temp- 38 Celsius FINAL RINSE: 16 minutes over 16 passes using fresh water per pass - temp- 38 Celsius STABILIZER: 4 minutes equaling 4 passes - room temperature HANG FILM TO DRY: Thanks folks! Roger D. Wilson Film Scientist 613 324 - 7504 rogerdwil...@sympatico.ca http://www.rogerdwilson.ca [1] Without failure you can never achieve success. I have based my process and my career as an experimental film artist on this statement; and I welcome it as it pushes me forward as an artist to try something different, something new. Links: -- [1] http://www.rogerdwilson.ca/ ___ 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] Kodak Film Stocks to be Discontinued, Announced in December
Edo, My understanding is all the recent discontinuations happen because the stock is expiring in the warehouse. So Kodak tightens up its product line by dropping the money losers. Of course with less stocks to choose from, film because less desirable to shoot. I imagine that the last stocks left standing will be 200T and 500T colour negative, which are the most popular with Hollywood. As David said in excellent detail, Kodak doesn't care about small time customers. They are only interested in mass market sales. They are still cheaper (especially in N.A.) but anyone interested in shooting film should put their support behind the smaller manufacturers. This gutting of BW stocks might make Orwo more viable in the long term. Much in the same way when Kodak dropped their BW papers they allow Ilford to fill the void and become viable again. I'm surprised that 3302 and 3378 weren't discontinued with the BW intermediate stocks of this go round. John On Saturday, August 30, 2014 9:21:49 AM, Edward Choi e...@uchicago.edu wrote: I'm a little confused about the discontinuation of 7203 and 7207 in 100' rolls. Does it really save them that much at the margins when they're continuing to manufacture the stock itself and offer it in larger quantities? If someone who knows more about the way their manufacturing chain is set up could explain this, and perhaps disabuse me of my naivety, I would be most grateful!___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Did Kodak almost stop making all film?
Fred, there is a very detailed technical book that was written and self published by a former Kodak employee:http://www.makingkodakfilm.com/ Its presently out of print, unfortunately. However, it is pretty deep on the tech and is not a light read. There are also several older books that go into detail about film emulsion creation. I don't know any titles off hand but you might come across more information about these on analog photographers forums. My understanding is most of those books are at least 30+ years old and were pretty small press runs for a laboratory community. There is also The Disappearance of Darkness: http://darkness.robertburley.com/ Which is a coffee table book by a photographer who documented the closing of various industry buildings around the world. The book is mainly of photos of abandoned buildings and demolitions but has several good essays and each section has a short description of the history and purposes of the buildings. Kodak, Ilford and Agfa each have sections. The writing is in laymen terms and clearly outlines the relationship between film and mass industry. Its pretty interesting and after reading it, its hard to see much of a future for cinematic use of film. Particularly colour stocks which are much more demanding to make. Black white might survive as an artist and hobbyist medium, Ilford is able to produce short runs of their stock, and their business was boosted when Kodak abandoned photo paper. IIRC Ilford made 16mm in the distant past, maybe when Kodak stops producing BW film, they will get into 16mm. I say shoot what you can afford and enjoy it while it lasts :) John On Thursday, July 31, 2014 2:43:45 PM, Fred Smith fsmit...@rcn.com wrote: I've always wondered just how movie film is made. I remember a letter on this site about a year ago where someone suggested building a smaller machine. Can anyone recomend a site that explains the process? Respectfully, F. Smith On 7/31/2014 2:49 PM, Sean Weitzel wrote: The reason Kodak is so challenged to continue making film, is the simple fact of the manufacturing process. Kodak has only manufactured film on a massive scale. They don't have the means to produce small or boutique runs of various stocks. (Side note: Did anyone see that Kodak had some of their idled film coating lines up for sale on ebay recently for basically scrap prices? the main coating wheel is 4 stories high). What is really going on is Kodak has to be able to forecast how much film of a certain type will be sold. Once they have that forecast, they manufacture and coat what is called a master roll 54 wide and 5200 feet long. From that roll, all of the individual gauges are cut and perforated and packaged, everything from 70mm down to super-8. This is the reason you see so many stocks going into the discontinued notices, or finish to order with absurd minimum quantities is because of the need to be sure a master roll will be sold withing the expiration period. What I believe has happened is the studios have done just this, they've entered into a contract with Kodak to justify Kodak coating more master rolls of the various color negative stocks. Nothing has been said as to what the availability of other types of stocks, such as black and white, recording film, print film, etc will be. I fear some of these lower volume items will eventually go discontinued as the prior master roll is used up. There's a good more detail about the whole process here: http://silverbased.org/plus-x-kodak-woes/ On Wed, Jul 30, 2014 at 4:48 PM, Fred Camper f...@fredcamper.com wrote: http://online.wsj.com/articles/kodak-movie-film-at-deaths-door-gets-a-reprieve-1406674752?mod=WSJ_hp_RightTopStories As I understand this, they were considering stopping all film manufacturing, in all gagues, including of print stock. Does anyone have more information? Fred Camper Chicago ___ 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 Hand-Processing Chemistry Scheme.
Lindsay, I've not worked with Orwo (but have two rolls sitting before me) and I would just use D-19 for the first developer if thats what you have available, if you want to do a custom mix then D-94A is what Kodak officially recommends for BW reversal 1st developer. But maybe there are some Europeans on the list who have more direct experience with Orwo and their mysterious Instruction 4185! On Wednesday, July 23, 2014 8:59:38 AM, lindsay mcintyre email.li...@gmail.com wrote: I'll be shooting some Orwo 35mm UN54 as reversal and am currently looking for the Kodak/Ilford equivalents to the chemistry required in Instruction 4185. I'm hoping I don't have to mix it all from scratch. I assume any strong developer like D-19 would work for the 2nd developer but does anyone know from experience what the best 1st and 2nd developers are for this? Any other special considerations for UN54 as reversal? Thanks Lindsay___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] The Hand-Processing Chemistry Scheme.
Generally I've always found 400ft of 16mm per 2 litres of developer is a good ballpark number that hasn't let me down. On Monday, July 21, 2014 8:20:59 PM, ben russell b...@dimeshow.com wrote: Frameworkers, Hello hello from New Hampshire! I'm putting together a short-term darkroom set-up and wanted to make use of your hive mind to double-check my somewhat creaky hand-processing techniques, with particular regard to B/W reversal and negative chemistry. I'm planning (along with a few other humans) to process around 3,000' (1,500' of which would be reversal) of Hi-Con and Orwo UN54 and need some chemistry recommendations. Could you recommend a mix of materials for this quantity? I'm talking D-19, Rapid Fixer, Hypo, Wetting Agent, Bleach... It seems like the main options are Photographer's Formulary, which is fine by me, but I'm unclear as to how much chemistry I need for what will effectively be 30 rolls. Any thoughts? Thanks! BR ___ 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] Modern 16mm features, distributed on film
Differently, Molussia (2012) and Empty Quarter (2011) are the only feature length films that I am aware of that were distributed on 16mm film in the past few years. Does anyone else know of any others? Thank you! ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] 16mm -- HD -- 16mm
I did use FCP to get an edit list in 2009. I used SD video with burn in code. Got Flex files from a transfer from Deluxe Vancouver. The used Cinema Tools to convert the files at home. However as I recall there was a few kinks in the workflow. Normally my digital edits are chaotic with clips stacked all over themselves on the timeline and this caused problems when I created the initial EDL. An editor pal said that I needed to simplify the timeline. So I re-arranged the cut onto a single line and also had to make sure that I used the fade/dissolve tools rather than using the 'pen' tool to create my own fades. I double checked the EDL with the burn in code and it was perfect! With a 24fps HD timeline I don't see why it wouldn't work. As per Jodies advice. Do everything very simple and clean and you'll be fine. John On Sunday, July 6, 2014 9:48:56 AM, Jodie jodiemac...@hotmail.com wrote: Hello Laska, I used that workflow (Film Telecine FCP7/CinemaTools EDL/Cut List Neg Cutter) after this thread. It actually worked out great, as the 24fps (23.98) transfer is actually frame accurate within your FCP 23.98 sequence. For the EDLNeg Cutter process, you absolutely need to make sure there are ZERO effects WHATSOEVER within your timeline: no contrast, no color, no scaling, nothing. Anything will send the computer spinning and provide inaccurate results. I was lucky enough to have work print to check against, but a color adjustment I didn't catch the first time definitely caused Cinema Tools to export an incorrect frame count for those few shots. After removing the filters, CinemaTools provided an accurate list. But, you definitely don't want to run into that sort of issue at the negative stage. So, if you have no work print, just take extra care to make sure your sequence is clean. You can also make sure your sound (if you have) ends at the same frame number as your cut list and so on. For a few other projects, I have skipped the CinemaTools stage and simply counted frames from the beginning of each shot when matching my film to my video edit. To me, HD actually brings simplicity to this process. Time's not time, but frames are frames! Good luck! Jodie Mack Assistant Professor of Animation Dartmouth College www.jodiemack.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] Weapons and the military in avant-garde cinema?
Backbone by Tom Braidwood 1972 Its a loop of a WW2 soldier yelling 'Fire' followed by a canon blast. Becomes rather comedic and subversive. On Tuesday, January 28, 2014 5:47:24 PM, Buck Bito - Movette b...@movettefilm.com wrote: An extremely skin-crawling short work that includes relatively modern air-targeting footage and WWII propaganda images all draped with a creepy gauziness: I Cannot Speak Without Shaking by Todd Hermann 2007 - Video - 5 minutes Written by Patricia Berne http://www.todd-herman.com/video/#ics ---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 www.movettefilm.com On Tue, January 28, 2014 12:49 pm, John McAndrew wrote: Can anyone on FrameWorks offer any suggestions for moving image works - both new or old, landmark or obscure, abstract or representative - that may explore such vanguard themes? Best, John ___ 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] Hand processing E6 as BW reversal
To follow up to my own post (which came back to me as a double post - sorry!). Jason, I'd be interested in hearing from you what your impression of their current state of business is and any further information about them and their (alleged) shutdown. When I first got interested in analog film and started reading various internet forums there was often a post about some strange film they found and then a referral to Rocky Mountain. Then as time went on there'd be posts about people not getting their film back for several years. Then about 2 years ago there was a bunch of fresh complaints quickly followed by news of impending closure with no apparent plan or offer to return anyone's film! Eventually the local tv station did a damning news report about their business and that seemed to be the end. All of this can be found with a quick google search. While I'm glad to hear a film lab is still around in this day and age but I'd like to know more about their practices from anyone who has had work done by them. Complaints are always the first thing you hear about but when thats all you ever hear about a business it becomes hard to ignore. JW___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] exposed but not fully
I've left exposed film in my fridge for up to year with no complaints. If you're storing your film in the trunk of your car then I'd worry but if its a nice cool and dry space it should be fine. ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Hand processing E6 as BW reversal
All colour films can be processed in BW chemistry to get a BW image. I've not really done much of it except for the odd time of a mistake when a colour short end got mislabeled as BW and the film was not as ancient as your stock. Why don't you just process a snip test of your ektachrome? You'll want to push it a stop for the age of the film and the image will still be rather flat compared to a true BW image. On Sunday, December 8, 2013 5:59:19 PM, Chris G spy...@gmail.com wrote: Hi all, I am wondering if anyone has experience/advice/formulas for processing E6 as BW reversal. I have some Ektachrome 160 (EM-26, so remjet) super 8 (expired in '97) that I'd like to experiment with. I haven't been able to find too much information and I've only processed BW negative and reversal before, so I lack color experience, but have a general working knowledge of these film types and realize that there will be some alteration in the process in consideration of the color layers. Thanks, 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
Re: [Frameworks] Hand processing E6 as BW reversal
Rocky Mountain Film Lab is back in business? I though their reputation as being quick to cash a check but it takes them several years to process film was the reason they shut down? There are so many complaints against RMFL that I'd be cautious about sending your film in. Try these guys: http://www.filmrescue.com/ On Friday, January 3, 2014 1:56:19 PM, Scott Dorsey klu...@panix.com wrote: What is the story? I called them a few years back and they told me that they were shutting down and not taking any more orders. --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] 35mm Gate for JFK Optical Printer
I bought some minor parts from him in the early summer. I've spoken with him on the phone a few times. He sounded pretty elderly but willing to supply parts and do small jobs. I would not be surprised to hear that he's either deceased or not healthy enough to run his business. Hopefully he's still with us! John On Friday, November 29, 2013 9:43:59 AM, Bernd Luetzeler fi...@gmx.de wrote: Hi Luis, I had ordered a lens from JK a few months ago. There were no communication issues, everything went smoothly. Good luck Bernd Am 29.11.2013 um 17:28 schrieb luis ?: Hi all!! I’m trying to contact JK Camera and the phone number doesn’t work and by mail ( jpku...@att.net ) I haven’t recieved answer. Their website doesn’t work… Does anybody know any information? I’m looking for a 35mmm gate for 104 JK Optical Printer And a Digital Adapter Sistem for digitalicer with the Optical Printer… Thanks/best Luis Macías Luis Macías 629709266 Skype: Luis-maci mabaluf...@gmail.com http://vimeo.com/luismacias/videos http://www.cratercollective.com/ 2013/11/7 luis ? mabaluf...@gmail.com Wow!! Thanks...all! The web of JK Camera is not working now... George Sherman i will contact next week whit you out of the mail list...and send you some pictures... best to all L. Luis Macías tfn: 0034 629709266 Vzla: 0412 025 1688 Skype: Luis-maci mabaluf...@gmail.com http://vimeo.com/luismacias/videos http://www.cratercollective.com/ 2013/11/6 George, Sherman sgeo...@ucsd.edu Send me a photo of the projector head with the gate removed. Place a ruler near the two threaded mounting points so I can get and idea of the spacing. Are the mounting bolts 10-32? The gate looks a lot like the Richardson movement use in military photo interpretation equipment. Sherman On Nov 6, 2013, at 1:04 PM, luis ? wrote: Hi Frameworks, I'm looking for a 35mm Gate for a JFK Optical Printer... Anyone know where i can find one? Best Luis Macías ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks Sherman George sgeo...@ucsd.edu 858-229-4368 ___ 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] Digitisation of 16mm film in Canada
This guy is in a suburb of Vancouver. Uses a Workprinter to transfer, does pretty good work and cares about film:http://www.lifetimeheritagefilms.com/ On Tuesday, October 15, 2013 10:40:45 AM, Roger Wilson rogerdwil...@sympatico.ca wrote:Hi Insa,Check out Frame Discreet they are awesome and very affordable, based in Toronto.Good LuckRoger D. Wilson613 324 - 7504rogerdwil...@sympatico.cahttp://www.rogerdwilson.caWithout failure you can never achieve success. I have based my process and my career as an experimental film artist on this statement; and I welcome it as it pushes me forward as an artist to try something different, something new.Date: Tue, 15 Oct 2013 12:36:51 +0100From: insa.langho...@gmail.comTo: frameworks@jonasmekasfilms.comSubject: [Frameworks] Digitisation of 16mm film in Canada Hi, I have got some 16mm film material I would like to have digitised and am currently looking for a good place to do this with in Canada. I am based in the UK, so the digitised material would have to be shipped here on an external harddrive; the reels are in Vancouver. There are 3 reels, each one of them is 30min long - so I guess it`s a total of something around 3600 feet. The digitised files should be compatible with Final Cut Pro. I got this quote for the digitisation of all three reels: Video plus audio: $1548 Video only: $1080 Is this a good price or are there any other places you can recommend? Thanks, Insa -- ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___FrameWorks mailing listFrameWorks@jonasmekasfilms.comhttps://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Alpha Cine discontinuing film processing
Sad but not unexpected with the end of 35mm printing. With the lack of a major Seattle film industry they seemed like more of a destination lab for films getting 35mm prints and seemed quite friendly to mail order customers. Not many places left that would handle 8/16/35 and do both colour and BW negative or reversal and do workprints. Maybe Niagara Custom Lab and who else? Colorlab? Just wish they'd got the word out a little sooner or posted on their website. I've got some film I could send but the timing seems a little razor thin. Anyone got any recommendations on where to get quality Super 8 colour negative processing? John ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Fees for music rights.
That amount sounds very healthy for an indie label. Enough money to justify the DVD rights too. For majors they have so much overhead that they need huge amounts. Majors usually have a list of the songs with costs for the rights and its pretty straight forward. However, unless you think the song is absolutely amazingly perfect you can probably find music for free or nearly free. Experimental or not its not realistic to make any profit off a short film. But the film will have a life that will give the musician exposure to audiences they might not normally get. The question is whether you think the film with this song is worth the $1000, if you absolutely can't live without it then yes but if there are other soundtrack options then why drop so much coin? Years ago I was able to secure festival rights for free from a local band with an international reputation. The indie label they are on was in the U.S. and basically said 'yeah whatever' signed my little release form and that was that. Indie labels are often just a few people in an office so its possible to get things done that way. The thing no one talks about is that since you have no dvd or broadcast chances you could've probably just used the song with no one knowing. Festivals don't investigate if you've got the song rights or notand record labels don't send spies to experimental film screenings.Since you contacted the label this is not really an option anymore as they are now aware of your project but its worth a thought in the future.Youtube is full of videos with songs with no secured rights. John From: zach vonjoo zu...@yahoo.com To: frameworks@jonasmekasfilms.com frameworks@jonasmekasfilms.com Sent: Monday, September 9, 2013 9:41:12 PM Subject: [Frameworks] Fees for music rights. Hi All-- I'm in negotiations with a musician and label at the moment, and they've asked me to suggest a fee for music rights. I don't have much money, but if pressed may be able to raise as much as thousand dollars. Is this a low-ball amount? I've asked around and it's been suggested that I try to get master rights for free, but I don't feel right about that. This is only for submitting to festivals, not DVD rights. It's an experimental short, and unlikely to net me any funds. Thanks! Zach ___ 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] Fees for music rights.
Andrew,br/br/Great advice! That's quite a useful summary. Sounds like the label is small and fishing for an offer. br/br/br/Sent from Yahoo! Mail for iPhone___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] getting through airport x-ray
Where is over there? Cuba? My advice is don't worry about it. Just take the film in your carry on. I've had film zapped from trips to Mexico with no problems. Last summer, I traveled from Canada to U.S. to Peru to Boliva and back again with 35mm Tri-X (400asa). There were several internal flights in Peru so the film was x-rayed over 10 times with no ill effects. As my Spanish is very weak I didn't bother trying mention I was carrying film. There was never any question about the film or inspection. From: Peter Hofstad ififif...@gmail.com To: frameworks@jonasmekasfilms.com Sent: Monday, September 2, 2013 2:19:17 PM Subject: [Frameworks] getting through airport x-ray Hey all, I'm traveling internationally with a bolex and 16mm film at the end of this month. Any advice you have about getting through airport security/customs intact would be appreciated. Specifically I'm worried about the x-ray machines/ light exposure on the film.Once I shoot over there, what's the best way to bring it back? Would it be safer to mail it back the states? Thanks, Peter W. Hofstad ___ 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] Seattle area only--a director's viewfinder?
Well there are certainly advantages/disadvantage between using that app over a traditional viewfinder. I've not used the app myself so I can't speak to the critics but it is being used by some professionals that don't want to fiddle with a viewfinder. The other affordable option is to buy one of those mini-viewfinders that are on ebay for $150. NW Film Forum might be worth approaching to see if they or a member has one to rent. If you think you're going to use the app or viewfinder more than once then it'd be worth paying for. The phone one might be the best value, since you could pull out your phone anywhere you go if you see a location you like or an interesting viewpoint. John From: Caryn Cline carynycl...@gmail.com To: John Woods jawood...@yahoo.ca; Experimental Film Discussion List frameworks@jonasmekasfilms.com Sent: Tuesday, July 23, 2013 7:32:01 AM Subject: Re: [Frameworks] Seattle area only--a director's viewfinder? Thanks, John. I did see the app, and wondered whether anyone would recommend it (the online reviews were mixed). Although I do not have a smart phone, several people on the crew do, so perhaps this would be the best solution. CC On Mon, Jul 22, 2013 at 10:23 PM, John Woods jawood...@yahoo.ca wrote: There is a good one that is available on smartphones, I think its called Artisan Directors Viewfinder and was about $30. You can program different formats and is getting popular amongst some professional filmmakers. Might be cheaper/easier than renting something. From: Caryn Cline carynycl...@gmail.com To: Experimental Film Discussion List FrameWorks@jonasmekasfilms.com Sent: Saturday, July 20, 2013 9:51:41 PM Subject: [Frameworks] Seattle area only--a director's viewfinder? Dear Frameworkers, I know it is a long shot, but if any Frameworkers in the Seattle area have a director's viewfinder that they could make available for trade or rent for five days in early August (6 7 and 12-14), please contact me off list, and thanks! CC -- Caryn Cline co-producer, Acts of Witness www.actsofwitness.com vimeo.com/carynyc ___ 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 -- Caryn Cline co-producer, Acts of Witness www.actsofwitness.com vimeo.com/carynyc___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Developers
While any BW developer will technically work with any BW film reversal or negative, but in my experience D-19 and Dektol are the only consumer available developers that will give you enough contrast for a nice Tri-X reversal image. My tests with D-76 and PQ were very flat looking. I personally prefer D-19 but everyone has preference. Try asking the film gurus on the APUG forums for more opinions. John From: Jarrett Hayman jfhay...@gmail.com To: Experimental Film Discussion List FrameWorks@jonasmekasfilms.com Sent: Saturday, June 29, 2013 9:45:21 AM Subject: [Frameworks] Developers Hello, Is it necessary to use d-19 developer for Kodak Tri-X super 8? Are there alternative developers that would as well/differently? Thanks, -JH ___ 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] Expanded Cinema show tonight! in Vancouver
Should've posted this earlier but here it is... Show starts around 7:30 tonight, features digital and 16mm projections with live music. Sound + Vision: An Experimental Collaboration June 7, 2013, 7-10pm, 235 Alexander St, Cineworks Annex, Facebook Event: http://www.facebook.com/events/305101332956674/ Free to attend The Sound + Vision project will consist of 6 live multi-media performances involving collaborations between Vancouver-based experimental filmmakers and musicians that explore relationships and interplays of audible and visual language. Over the past 2 months, 6 teams of filmmakers and musicians have each produced a 20 minute Sound + Vision performance, premiering on June 7, 2013. Performances have drawn on “expanded cinema” practices to create original works ranging from narrative to the abstract. Recorded on film and hand processed at the Annex darkroom studios, filmmakers and musicians have been encouraged to experiment with qualities specific to analog film and sound technology, as well as their overlapping interactions and translations within digital media. Including: John Woods, Mark Cernigoj, Sydney Southam, Zoe KG, Lux Petrova, Lisa G, Rene Cherrie, Ariel KG, PrOphecy Sun, Raffi Maseredjian Clea Anais. Co-presented by Art Waste and Cineworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] EIFF Black Box
Hello Frameworks, Congratulations to Benjamin and I am also happy to mention my film 7246 120' WE will screen in the EIFF Black Box on June 25th! Rare European screening of the 16mm print! http://www.edfilmfest.org.uk/films/2013/black-box-1-in-action Sadly I won't be able to attend but the lineup looks good with some impressive features I hope get shown in Vancouver someday. John Woods From: Benjamin R. Taylor cont...@benjaminrtaylor.com To: frameworks@jonasmekasfilms.com Sent: Thursday, May 30, 2013 12:14:39 PM Subject: [Frameworks] Niagara's Fury at EIFF Black Box Hi, there, A film of mine, Niagara's Fury, will be playing at the Edinburgh film festival in June as part of the Black Box series and I just wanted to reach out to see if there were any people in that fine city to come along and see it. I'll be attending the festival so it would be lovely to get some feedback from the frameworks community! Also, I'm looking for any accommodation suggestions (or free couches) if you may have any good tips. Message me off-board. Thanks frameworks, you're the freshness and sunshine in my inbox! Benjamin R. Taylor www.benjaminrtaylor.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] Frame Discreet 2K
I've had regular HD transfers done with them. They are quite good for the price, however, as an out of town customer I will say that their turnaround is slow and its difficult to get the best out of your transfer when you don't get to supervise. But no regrets! They care about the medium and the quality of their work. I can show you the Super 8 colour neg they transfered if you want to come by sometime or e-mail me and I can send you some links. If you have a lot of time and are short on money. Cineworks now has a JK with a Super 8 and 16mm gates that has a DSLR mounted on it. Its a slow process but the quality is very high and if you don't have a lot of film to transfer its your best bet in Vancouver. The cost of renting it for an afternoon will be less than shipping film to the Big Smoke. John From: Ryder White ryder.wh...@gmail.com To: Experimental Film Discussion List frameworks@jonasmekasfilms.com Sent: Sunday, April 28, 2013 6:00:20 AM Subject: Re: [Frameworks] Frame Discreet 2K Thanks very much, Roger and Karl, for the advice! Sounds like an excellent option. ryder On Sat, Apr 27, 2013 at 6:53 PM, Karl Reinsalu kreins...@gmail.com wrote: Frame Discreet is a great place to get 2K scans if you are in Toronto or Ontario. Their frame accurate system, quality colour correction and keen eye for detail has made many a fellow filmmaker up here jump for joy with the results. I personally have had detail pulled from what I thought were totally blown out highlights once FD got my print into their machines. This positive edge is also to be said about the general quality of work as I've heard from others about having their faith in film regained as a medium after having FD re-transfer their prints that were inadequately transfered by other companies in the city. I'm often finding myself shooting in lower frame rates such as 8fps and 16fps and their delivery method allows for me to edit (NLE) my content at it's proper frame rate in order for me to have a totally accurate film-output for my release print. That being said, this did not stop Sarah Polly from utilizing their services for super 8 contend for her latest feature documentary Stories We Tell. As Roger said, they are more than willing to provide samples of their work if you ask. Their website already does have content to peruse. Cheers! Karl Reinsalu - LIFT Technical Coordinator - (www.lift.ca) On Sat, Apr 27, 2013 at 4:46 PM, Roger Wilson rogerdwil...@sympatico.ca wrote: Hi Ryder, I have used Frame Discreet for many SD transfers in the past and know fellow filmmakers who have used their HD transfers, I only have good things to say about Frame Discreet and Justin Lovell. But if you like to see samples I am sure they can provide something for you to view they are a very helpful bunce! Good Luck! Roger D. Wilson 613 324 - 7504 rogerdwil...@sympatico.ca http://www.rogerdwilson.ca Without failure you can never achieve success. I have based my process and my career as an experimental film artist on this statement; and I welcome it as it pushes me forward as an artist to try something different, something new. Date: Sat, 27 Apr 2013 12:52:23 -0300 From: ryder.wh...@gmail.com To: frameworks@jonasmekasfilms.com Subject: [Frameworks] Frame Discreet 2K Hello all, Has anyone used Frame Discreet in Toronto for their 2K digital transfer, especially for colour super 8? Looks like a decent deal but I can't say that I've seen any work come out of there personally... Thanks, RW ___ 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 -- -- Karl Reinsalu e.mail: kreins...@gmail.com ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] experiments in cinema
I was at the festival last weekend for the screening of my film Victor #5 and will reiterate everyone's opinion! Great programming, cool venue and projectionist, great crowds, warm organizers and volunteers. I felt very welcome there. Met a lot of cool people, some I got to know better than others but that is life. If you get the chance, I'd encourage anyone to try to attend this festival. Thank you Basement Films! John ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] latest film project - shortwave radio towers
Video clip looks and sounds incredible Amanda! The shutting down of the radio site maybe a stroke of luck for you in giving more emotional weight to the film and get a wider audience (at least locally) interested in the film. And could very well help get your campaign more momentum in your community. I've not done any crowdsourcing campaigns but I've contributed to a few and have a few opinions. I'd suggest that you do several follow up videos, I've seen a few successful campaigns to do this. And I think it helps get people coming back and suggests that you really want to work for the donations. It doesn't necessarily have to be an original video on the project but could be an upload of one of your previous works or a montage of your previous work. On a side note I do wonder about the popularity of sites like indiegogo or kickstarter where the individual does a bunch of work that will give a nice commission to the hosting website. I don't believe anyone wakes up and thinks Hey I've got a spare $50 I'm going to browse kickstarter! People get drawn to the campaign through your own connections, hard work and hustle. This opinion was cemented a few years ago when a friend successfully raised several grand through direct donations on his own website for his feature documentary. Anyway the project looks terrific I'll be sending a few bux your way :) John Woods From: Amanda Christie ama...@amandadawnchristie.ca To: Experimental Film Discussion List frameworks@jonasmekasfilms.com Sent: Tuesday, April 16, 2013 6:32:10 AM Subject: [Frameworks] latest film project - shortwave radio towers Hey there fellow film folks, I've been laying low in the cyber discussions lately, but still making film work out here... Just thought I'd post a link to some info and clips from my latest film project... taking a new direction once again... my first feature length project... shot on 35mm... 'Spectres of Shortwave' is about a short wave radio site that's about to be dismantled. There is a profile on Indiegogo with video clips from some of the footage that I have already shot. Still more to go. There's also a facebook page too. I welcome feedback and suggestions. 'http://www.indiegogo.com/projects/5868/emal/25000' take care, and be well! Amanda Dawn Christie 506-871-2062 www.amandadawnchristie.ca ama...@amandadawnchristie.ca ___ ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Anyone else like me out there?
Hi Doug, I often think the same thing though I am lucky to be know several local analog filmmakers that I call friends. While there is a large community of people working with film, its very scattered and it might take a direct approach to meet like minded people in this age. I was in Calgary a few weeks ago for the $100 Film Festival. I'd screened there a few years ago and had a new film in this years festival. They only screen Super 8 and 16mm prints and I was curious as what 3 nights of film prints in the 21st century would be like. The festival organizers were terrific people and the programming was very strong. I was made to feel very welcome and I do think I will try to attend again. And best of all the crowds were huge (200-300 I'd guess) and quite lively. Animated films, gag films, abstract experimenting, several narratives. It was a very diverse show and quite entertaining. I also got to meet several local and out of town filmmakers, Paul Clipson gave an amazing talk and presented his Super 8 prints personally. It was amazing to be able to grab a beer with a few people you met the day before and talk film stocks and share ideas. There was a healthy contingent of filmmakers from the Canadian Prairies up on the screen. Obviously most people are working digitally but their traditional film scene has the benefit of an annual event to plan films for and gather. And it seems most people that I met there who are working on film are in there 20s and 30s and there are few of the old guard who just never stopped working with 16mm. I had a great time and I think I will try to attend again in the future. My advice is to look out for events like this and plan a trip. John Woods From: Doug Chaffin(Douglas Graves) dgtols...@yahoo.com To: FrameWorks frameworks@jonasmekasfilms.com Sent: Saturday, March 16, 2013 12:32:54 PM Subject: [Frameworks] Anyone else like me out there? As an isolated 16mm abstract moviemaker I'm very interested to know if there's anyone else like me around today? Specifically, is there anyone who works on photo-chemical celluloid motion picture film and makes any kind of formal aesthetic work that is either purely cinematic, abstract, or just generally lyrical and poetic, visually speaking? I'm 30 and I spent 3 years and 10,000 dollars making a really ambitious and stylized abstract 16mm movie called PALMS, it's a serious piece of work that I think is worthy of following in the tradition of what I feel are the truly great non-narrative cinematic artists such as Will Hindle, Ed Emshwiller, James Whitney, Pat O'Neill, Jordan Belson, Scott Bartlett, Bruce Baillie, Maya Deren, Slavko Vorkapich, and Dziga Vertov, among others. Are other people out there, particularly people younger than 50 and currently active, who are also passionate and excited by the work of all these great cinematic artists and are committed to working on celluloid? The last 3 years have been a struggle for me to make another movie and to get my 1st one even seen by anyone. and i also just haven't been able to find people who share my love of cinematic technique and will share it in any way, such as emailing or talking to each other about great shots and montages and optical techniques or sound design techniques in the brilliant movies by these artists. That kind of community and sharing is i feel necessary, even if only between a few people, and it's sad when we're so alone in our struggling and hard work. The only current 16mm moviemakers I know that are similar to me in any way are Timoleon Wilkins and Mark Toscano and they are unfortunately inaccessible for various reasons. I can't see their work or stay in touch with them as friends or even associates. Especially nowadays with all these faster, easier, and cheaper ways of communicating around the whole world such as the internet and cell phones, it's amazing how it seems like most people are if anything more reluctant and difficult about staying in touch and enjoying community and fellowship. I know that maybe there are some really great cinematic-celluloid artists working today out there who just make their work for themselves and don't really show it and don't desire to know other cinema enthusiasts. In a way I can understand wanting to be like that and maybe nowadays it's the only way to be. I might get like that too but right now I would welcome the interest and association of serious people whom love what I love and, as my mentor the great Bruce Baillie would say, want to be human to each other about it. Doug Graves 4636 Talbot Drive Boulder, CO 80303 702-580-4293 PURE CINEMA CELLULOID http://www.purecinemacelluloid.webstarts.com/ ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo
[Frameworks] KEM flatbed repair
I've got a 6 plate 16mm KEM flatbed that needs a new belt for the prism. Any chance of a source for parts or a DIY repair solution? Thx!___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] John Woods - hacked e-mail
Sorry for this spam, my account has been hacked, do not open any unexplained links. ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] double 8mm camera
Doesn't Edward Nowill in the UK have a machine that will re-perf 16mm into double 8mm? From: Phaeton Graph phaetongr...@yahoo.co.uk To: Experimental Film Discussion List frameworks@jonasmekasfilms.com Sent: Wednesday, February 20, 2013 6:33:08 PM Subject: Re: [Frameworks] double 8mm camera they're spoilt for choice on the continent of Europe. To import that film into the UK *doubles* the price instantly :-( but it is great to see some small independent firms producing film :) From: Pip Chodorov framewo...@re-voir.com To: ev petrol epetr...@yahoo.com; Experimental Film Discussion List frameworks@jonasmekasfilms.com Sent: Thursday, 21 February 2013, 0:04 Subject: Re: [Frameworks] double 8mm camera Double-8mm film: http://www.kahlfilm.de/content.php?nav=15 At 9:48 -0800 20/02/13, ev petrol wrote: Hey folks emailing for a friend of mine who recently acquired a bell howell double 8mm camera ___ 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] Rear Screen Projection Rotoscoping 16mm
I just posted a short video of my op printer/roto set up. Hope it helps... https://vimeo.com/57535369 Impressive setup Ken! Looks pretty functional and easy to use. And I think the best thing is that it looks like all the major components could be found with a bit of hunting on eBay and Craigslist. Inspiring stuff! ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Rear Screen Projection Rotoscoping 16mm
There are articles in Cinemagic magazine about how to build your own optical printer and rotoscoping. Scans of this magazine are freely available online. I have not done it myself, but you can make your own contact prints on a Steenbeck, which would be easier to find than an actual contact printer. You might be able to find more information on rotoscoping in some vintage filmmaking books, maybe Lenny Lipton's book would have a section on that? From: ben.weinst...@mindspring.com ben.weinst...@mindspring.com To: Experimental Film Discussion List frameworks@jonasmekasfilms.com Sent: Tuesday, January 15, 2013 4:36:43 PM Subject: Re: [Frameworks] Rear Screen Projection Rotoscoping 16mm Dam the 21st century hella sux. Any idea of what kind of glass I would need to make my own? -Original Message- From: Scott Dorsey klu...@panix.com Sent: Jan 15, 2013 11:52 AM To: frameworks@jonasmekasfilms.com Subject: Re: [Frameworks] Rear Screen Projection Rotoscoping 16mm I know labs have them but I want to do it all myself. Labs really don't have stuff like that any more. Back in the 1960s, all the labs did, but today digital intermediates have replaced everything that folks did with opticals in ages past. What you need is a time machine to go back to about 1978 where you can give W.A.Palmer Films a call. You will find a few people with old optical printers here and there, but rear projection and rotoscope systems are going to be something you will have to homebrew today. --scott ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Rear Screen Projection Rotoscoping 16mm
I would be surprised if anyone has much more than a hobby business offering such services. You'll either have to DIY or use a digital intermediate. If you're doing it yourself you'd also need to look into whether the filmstock needed for matte work is still available. Cineworks in Vancouver, and Northwest Film Forum in Seattle have optical printers. There are still labs offering contact prints. Cineworks was given a contact printer from Technicolor when they collapsed, but you'd have to learn how to use it on your own and lab services would be out of town or DIY. From: ben.weinst...@mindspring.com ben.weinst...@mindspring.com To: frameworks@jonasmekasfilms.com Sent: Saturday, January 12, 2013 1:26:03 PM Subject: [Frameworks] Rear Screen Projection Rotoscoping 16mm Hey, does anyone on the west coast have a rotoscoping set up with rear projection? If not does anyone know what kind of glass I should get to make my own setup? Also does anyone have access to a contact printer out there and if not do labs offer the service of making traveling mattes? One more thing. Is there anyone on the west with access to a double filmgate optical printer like a JK or Oxberry or somethin? Sorry bought all the questions but Im gonna need all these things soon to do some special FX and im worried everyones sellin theres off to stupid museums and what not. Any info helps. Thanks yall ___ 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] Ektachrome or 16mm color reversal
You can process colour print film and colour negative in E-6. If processing colour negative your first step will be to remove the remjet, about a minute in water with Borax will do the trick. You'll need to overexpose the film 2 stops and push 1 stop for best results. The positive image will have a golden tinge to it. It won't look like Ektachrome but you will get a good image to work with. John From: Rebecca Erin Moran rebekka.mo...@gmail.com To: frameworks@jonasmekasfilms.com frameworks@jonasmekasfilms.com Sent: Friday, January 11, 2013 3:15:38 PM Subject: [Frameworks] Ektachrome or 16mm color reversal Hi all... i work primarily with color reversal and am teaching an experimental film course at the art school in Reykjavik Iceland. Any help where I can find 16mm color reversal film right now that can be hand-processed E-6?! Fuji just stopped their color positive print stocks and apparently Kodak has no 100D Ektachrome color reversal either! Help! best, Rebekka Sent from my iPhone ___ 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] copyrighted music in underground/experimental/avant-garde cinema
Great question and something I think not discussed enough. There seems to be a don't ask don't tell attitude to this issue. My experience with local film festivals screenings has led me to believe that most festivals don't care whether you've got the rights to songs or video clips. As long as you claim you've got the rights when you submit they don't worry. I've seen short films made on a shoe string that have used music from bands as famous as Elvis, The Beach Boys, Black Sabbath and The Beatles to name a few. I'm positive the filmmakers did not clear the rights. In my own experience I usually use original music or obtain rights from local musicians. But I did use a public domain song for a film of mine a few years back. When I was researching public domain songs in the U.S. it seemed that a lot of this material is squatted on by various companies who may or may not have the copyright but will vigorously go after any violation. Because of that it seemed the practice was such that professional film company's would pay them for the rights as a way of protecting themselves. I settled on using a classical Beethoven song recorded in the 1930s and obtained on a well known public domain publishing label in Canada. At the time it was public domain in Canada and Europe but not the U.S. I decided to go ahead with using it as I lacked the money to get a U.S. clear song and since I had no expectations of the film ever being sold or broadcast. As long as I was clear in my own country I felt I would be fine. The song was looped in parts, edited in other parts and digitally cleaned up by a friend. After a modest festival run it sat on the shelf until I decided to post it on YouTube last year. In the years since, the public domain status of that recording has changed in the EU and is no longer in the PD. I got flagged on YouTube by a company in Austria claiming copyright on the song. Since PD status can be easily changed in one country and not another, I will probably not ever risk using a song in the PD again in any major work. Unless its something very unique it seems like too much hassle. However, as recent interests have drawn me to explore using locally shot 8mm 16mm home movies and other found footage for a local history film I'm planning. I might soon have to explore the legal issues of using found film. John From: Matěj Strnad matej.str...@gmail.com To: frameworks@jonasmekasfilms.com Sent: Sunday, January 6, 2013 4:02:17 AM Subject: [Frameworks] copyrighted music in underground/experimental/avant-garde cinema Dear Frameworkers, I have a daring question regarding your experience with screening but especially publishing of experimental film/video works which feature copyrighted music. With today's level of copyright-crusade, I find it quite unlikely that anyone working now would deliberately choose copyrighted music without permission in his film (without perhaps conceptualizing it somehow). But there surely are many works from the times when this issue wasn't so exposed, I mean Harry Smith's films and such. I quite understand a certain touchiness of this subject (that is probably why I found so very little about it), but I would very welcome any relevant tips/readings/examples/contacts. It is not only my personal curiosity, dissatisfaction with how intellectual-property laws push economics over creativity (or effectively force us to disregard a part of our cultural heritage, so to speak). It is also that we are dealing with this problem right now (preserving and digitizing 8mm films from the 70s which were originally accompanied with copyrighted, US-record-label kind of music). With many thanks for any on- or off-list responses, Matej Strnad student at Center of Audiovisual Studies Film and Television Faculty of the Academy of Performing Arts in Prague, CZ ___ 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] daylight spools and boxes
You could try the local film lab. In Vancouver the labs would give you all the cores, bags, spools and cans you could carry as they'd have to throw out a lot of it. But I've been told some labs in other regions will charge a small fee per item. John From: Katherine Bauer kittylitter...@gmail.com To: frameworks@jonasmekasfilms.com Sent: Friday, January 4, 2013 10:31:27 AM Subject: [Frameworks] daylight spools and boxes Hi Frameworks I was wondering if anyone in Paris had any daylight spools 100 ft (30m) and boxes that they can lend me for a few a bit or could sell me. Thanks Kitty On Fri, Jan 4, 2013 at 7:01 PM, frameworks-requ...@jonasmekasfilms.com wrote: Send FrameWorks mailing list submissions to frameworks@jonasmekasfilms.com To subscribe or unsubscribe via the World Wide Web, visit https://mailman-mail5.webfaction.com/listinfo/frameworks or, via email, send a message with subject or body 'help' to frameworks-requ...@jonasmekasfilms.com You can reach the person managing the list at frameworks-ow...@jonasmekasfilms.com When replying, please edit your Subject line so it is more specific than Re: Contents of FrameWorks digest... Today's Topics: 1. Re: Urgent: where to buy stock India, UK, Spain or Germany? (Nicholas Hamlyn) 2. Where to buy 16mm 100ft spools and cans (Veronica Ibarra) 3. Re: Where to buy 16mm 100ft spools and cans (luis ?) 4. Re: Urgent: where to buy stock India, UK, Spain or Germany? (John Woods) 5. Re: Urgent: where to buy stock India, UK, Spain or Germany? (Scott Dorsey) 6. Re: Urgent: where to buy stock India, UK, Spain or Germany? (Bernd Luetzeler) 7. Re: Urgent: where to buy stock India, UK, Spain or Germany? (Kevin Lungaro Mifsud) 8. Re: Urgent: where to buy stock India, UK, Spain or Germany? (Phaeton Graph) -- Forwarded message -- From: Nicholas Hamlyn nicky.ham...@talktalk.net To: Veronica Ibarra veronicaiba...@yahoo.com, Experimental Film Discussion List frameworks@jonasmekasfilms.com Cc: Date: Thu, 3 Jan 2013 18:29:43 + Subject: Re: [Frameworks] Urgent: where to buy stock India, UK, Spain or Germany? Kodak UK do free next day courier delivery on orders over £40, but they might not have that many 100 rolls in stock so you might need to buy 400s and spool them down onto 100s, assuming you have the facilities to do that (i.e. a darkroom or changing bag and some rewinds). You could also try Stanley Productions in Soho, Nicky. On 3 Jan 2013, at 17:51, Veronica Ibarra wrote: Hi All! A filmmaker friend of mine is shooting an experimental feature in India in 14 days and Kodak spain has let him down and is not delivering the stock as promised. He basically needs 2400 metres of 16mm BW neg, ideally in 100ft rolls. That would be 80 rolls. Does anyone know where he could buy these in the UK, Germany or Spain? People are travelling from these places to India so they could take the stock with them. I will contact Kodak UK tomorrow. The important thing is that we need to get the stock in the next 5 days! If not, the film won't be happening. Things are desperate! Thank you in advance! Regards Veronica Ibarra ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks -- Forwarded message -- From: Veronica Ibarra veronicaiba...@yahoo.com To: Experimental Film Discussion List frameworks@jonasmekasfilms.com Cc: Date: Thu, 3 Jan 2013 12:11:23 -0800 (PST) Subject: [Frameworks] Where to buy 16mm 100ft spools and cans Hi again, I posted earlier about needing urgently to get hold of 16mm stock. In case we need to buy it in 400s instead of 100ft rolls, Does anyone know where I could buy something like 80 100ft spools and cans please? In UK, Germany, Spain or India if possible please Thanks a lot Veronica -- Forwarded message -- From: luis ? mabaluf...@gmail.com To: Veronica Ibarra veronicaiba...@yahoo.com, Experimental Film Discussion List frameworks@jonasmekasfilms.com Cc: Date: Thu, 3 Jan 2013 21:15:27 +0100 Subject: Re: [Frameworks] Where to buy 16mm 100ft spools and cans In Spain it is impossible, I talked to a friend of Kodak and tells me no stock! Best! Luis Macías www.cratercollective.com 2013/1/3 Veronica Ibarra veronicaiba...@yahoo.com Hi again, I posted earlier about needing urgently to get hold of 16mm stock. In case we need to buy it in 400s instead of 100ft rolls, Does anyone know where I could buy something like 80 100ft spools and cans please? In UK, Germany, Spain or India if possible please Thanks a lotVeronica ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks -- Forwarded message -- From: John
Re: [Frameworks] flickering
Unless I'm misunderstanding the effect you are after (you aren't looking for a strobing image?) then shooting at 6fps will not create flicker, you'll just get jerky high speed movement when projected back at the normal Super 8 frame rate of 18fps. You want your projector to be running at a slow frame rate to get noticeable flicker. If you want your film in the slow projector to appear at normal speed then shoot your material at 6 or 9fps or whatever rate will match your projectors running speed. From: franco base frenk.ca...@gmail.com To: Experimental Film Discussion List frameworks@jonasmekasfilms.com Sent: Tuesday, December 4, 2012 1:57:53 PM Subject: Re: [Frameworks] flickering Thanks. First I'll try to shoot at 6 fps. It Seems more simple solution. John if you remember the filmaker name, write me please. Thanks f. 2012/12/3 John Woods jawood...@yahoo.ca Try projecting at a slower frame rate, there are many variable speed super 8 projectors that could project at rates like 12, 9 or 6 fps. Your camera also might be able to shoot at a rate that could matchthe slower projector speed. IIRC there was a British filmmaker whose name escapes me, active in the 70s and 80s, who shot and projected his films at 6 fps. You could also try modifying the shutter blade on the projector. Its not my area of expertise but I think that if you had fewer shutter blades that you would get more flicker. ___ 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] D-19 testing
That 110 reel is nice but buying it is going to cost more than buying another bag of Kodak D-19.Why don't you just have your chemistry in buckets or bottles and do dunk processing of your test strips? Do it all in the dark and save the time of loading that tank. Or you can just stuff your film in your 35mm tank.Since these are tests you don't really have to worry about scratching the film. John From: Kevin Timmins on-on...@hotmail.com To: FrameWorks frameworks@jonasmekasfilms.com Sent: Monday, November 5, 2012 6:19:29 AM Subject: [Frameworks] D-19 testing Hi all, I've pretty much got the conventional D-19 process down now (as taken from the darkroom cookbook). Now I feel it's time to experiment a little. I want to shoot one roll of 16mm film with the same subject matter/ lighting/ cam settings etc.. and then take sections of that film (5ft or so at a time) and develop them individually using different D-19 combinations. The problem is I want to develop with very small quantities of D-19. So I want to develop in standard photographic 35mm paterson tanks and not my massive lomos (which requires lots of chemistry). As far as I know there are no small developing tanks to develop 16mm tests. Is there? Does anyone have any information on how or where I could get my hands on such tester tanks to develop very short lengths of film well? Or if possible, how to modify a photographic 35mm developing tank to do some tests in. All the best Kevin ___ 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 sending film through USPS OK?
I've sent lots of film to Toronto, Seattle and Dwaynes via Canada Post and USPS. Air mail and ground shipment. Never had a problem. Also had lots of film x-rayed in my carry on in airports, again no problem. I don't mark anything I ship with those film x-ray stickers, I think it would just draw more attention, but I do include a not inside saying this is exposed film in case customs opens it. If you're really worried send it via ground shipping, no one is going to scan ground packages. John From: Nicholas Hamlyn nicky.ham...@talktalk.net To: Experimental Film Discussion List frameworks@jonasmekasfilms.com Sent: Thursday, November 1, 2012 10:35:02 AM Subject: Re: [Frameworks] is sending film through USPS OK? I sent colour neg to Alpha Cine in Seattle from the UK for dev and print and it was fine, completely unaffected as far as I can tell, Nicky. On 1 Nov 2012, at 17:25, katherine Bauer wrote: If I send film through the US Postal System will it be x-rayed? is x-raying film really that bad for it? Doesn't it depend on the speed of the film. If it is a low speed like 100 or 6 (hi-con) will it really affect it!!? thanks xo Kitty On Thu, Nov 1, 2012 at 5:02 PM, frameworks-requ...@jonasmekasfilms.com wrote: Send FrameWorks mailing list submissions to frameworks@jonasmekasfilms.com To subscribe or unsubscribe via the World Wide Web, visit https://mailman-mail5.webfaction.com/listinfo/frameworks or, via email, send a message with subject or body 'help' to frameworks-requ...@jonasmekasfilms.com You can reach the person managing the list at frameworks-ow...@jonasmekasfilms.com When replying, please edit your Subject line so it is more specific than Re: Contents of FrameWorks digest... Today's Topics: 1. Re: Make way for Lucas (hinterland.movies) 2. Re: Make way for Lucas (Adam Hyman) 3. Re: Lighting Gel (Scott Dorsey) 4. Millennium Film Journal (MIllennium Film Journal) -- Forwarded message -- From: hinterland.movies hinterland.mov...@gmail.com To: Experimental Film Discussion List frameworks@jonasmekasfilms.com Cc: Date: Wed, 31 Oct 2012 13:43:14 -0400 Subject: Re: [Frameworks] Make way for Lucas Thanks! Glad to be erong about that Michael Michael Betancourt On Oct 31, 2012, at 12:17 PM, Warren Cockerham warrencocker...@gmail.com wrote: He does put a portion into preservation work. Check the Frameworks archive for this conversation about a year ago. Warren On Oct 31, 2012, at 11:05 AM, Michael Betancourt hinterland.mov...@gmail.com wrote: Imagine if he put even a tiny part of his fortune towards preservation work... (but don't hold your breath) Michael Betancourt Savannah, GA USA michaelbetancourt.com twitter.com/cinegraphic | vimeo.com/cinegraphic www.cinegraphic.net | the avant-garde film video blog On Wed, Oct 31, 2012 at 9:12 AM, Chuck Kleinhans chuck...@northwestern.edu wrote: Announcing his sale of his Lucasfilm studio to Disney Corp and official retirement, George Lucas announced his return to making experimental films. His estimated net worth: US $4.1 billion. No Kick-starter campaigns for George. Welcome back George! Chuck Kleinhans ___ 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 -- Forwarded message -- From: Adam Hyman a...@lafilmforum.org To: Experimental Film Discussion List frameworks@jonasmekasfilms.com Cc: Date: Wed, 31 Oct 2012 10:54:35 -0700 Subject: Re: [Frameworks] Make way for Lucas But next year he’ll be increasing that contribution from $100,000 to $100,000,000 On 10/31/12 10:43 AM, hinterland.movies hinterland.mov...@gmail.com wrote: Thanks! Glad to be erong about that Michael Michael Betancourt On Oct 31, 2012, at 12:17 PM, Warren Cockerham warrencocker...@gmail.com wrote: He does put a portion into preservation work. Check the Frameworks archive for this conversation about a year ago. Warren On Oct 31, 2012, at 11:05 AM, Michael Betancourt hinterland.mov...@gmail.com wrote: Imagine if he put even a tiny part of his fortune towards preservation work... (but don't hold your breath) Michael Betancourt Savannah, GA USA michaelbetancourt.com http://michaelbetancourt.com twitter.com/cinegraphic http://twitter.com/cinegraphic | vimeo.com/cinegraphic http://vimeo.com/cinegraphic www.cinegraphic.net http://www.cinegraphic.net | the avant-garde film video blog On Wed, Oct 31, 2012 at 9:12 AM, Chuck Kleinhans chuck...@northwestern.edu
Re: [Frameworks] Lighting Gel
Using Full CTB will result in quite a large loss of light, about a full stop, they will also slowly burn out during the shoot and you will need to change the gels periodically so you will need to buy a little extra. Typically you'll need to change them out after a full day of shooting. Your eye won't notice this slow change of colour but the film will. You could wrap Full CTO gel around your CFLs as those don't give off the same amount of heat and will last much longer. Or you could just swap out your CFLs for tungsten balanced ones. How is shooing under CFLs? Any green tinge?You also might want to check that your CFLs are really daylight balanced, the standard CFLs are about 4000k, daylight CFLs often have a range of 5000-6000K. If your lights are the 4000K type then you won't need Full CTB, you can get Half CTB which won't absorb as much light (2/3 of a stop) and not burn out quite as quickly. John From: Beebe,Roger W roge...@ufl.edu To: Experimental Film Discussion List frameworks@jonasmekasfilms.com Sent: Wednesday, October 31, 2012 8:32:15 AM Subject: Re: [Frameworks] Lighting Gel You can buy Full Blue (aka CTB) gels from Lee Filters in small sheets. Precisely what these are designed for... RB On Oct 31, 2012, at 11:19 AM, Kevin Timmins wrote: Hi Frameworks, Quick question. I'm shooting some film indoors and most my studio lights are CFL daylight balanced. However I also have some really nice theater lights which will come in handy, however they only take the tungsten type linear bulbs. Any ideas what gel I need to use to make them daylight balanced? Ideally I want something I can attach permanently to the front of the light... so something that wont melt would be great. Any suggestions? Best Kevin ___ 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] [Experimental Film Discussion List] Super8 BW help
carefully, not all labs are created equal. Though I haven't used them yet, I usually hear great things about Pro8mm, though they are the most expensive. I would avoid Dwayne's Photo for Super8 (wasn't very satisfied with my transfer there). I've had a pretty positive experience with PacLab out of NYC. But ask around, cause that is a very touchy subject. From what I've read online its rare to hear about a good experience with Pro8mm. They seem to be quite indifferent to small customers. This person had a very terrible experience with Pro8: http://www.cinematography.com/index.php?showtopic=57206 I've used Alphacine in Seattle a fair bit for 8mm and they have been great in my experience. Dwayne's is about the cheapest E-6 processing in the world and I've never had a problem, but I've never had them transfer the film either. Too bad they don't do BW because the price is right! ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] [Experimental Film Discussion List] Super8 BW help
From what I've read online it's rare to hear about ANY film lab that doesn't have both it's champions and it's detractors. Motion picture film labs are Fair enough, but did you actually read about that man's story that I linked to? He was an out of town customer, and they transferred his film out of focus! Is that an acceptable mistake to you? ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] [Experimental Film Discussion List] Super8 BW help
A few years ago I entered a film competition for horror films and we shot on BW Super 8. After shooting a take or two, I would do a take without rolling the camera and record the audio only. Through some manipulation in post we were able to get a decent sync, it sounds and looks a lot like a staged 1960s film, particularly old Italian films which had all the sound done in post (which fitted the 'giallo' genre we had to shoot our film as). To me this was the most cost effective way in both terms of time and film stock but is certainly not what most people want in their films. Whatever you decide, be sure to do a test or two. If you're interested my film can be seen here: https://vimeo.com/32009674 JW From: Jason Stauffacher jasonstauffac...@gmail.com To: Experimental Film Discussion List frameworks@jonasmekasfilms.com Sent: Wednesday, September 19, 2012 10:50:37 PM Subject: [Frameworks] [Experimental Film Discussion List] Super8 BW help My brother and I want to direct and do some short films with Kodak's BW. We will transfer it to DVD and then to our laptops after we film on the Super8 cameras. Is there a way to get sound onto it? We cannot film sound, or is that way still optional? I was told there is no longer Super8 sound anymore. I can put music on any file, but I am wondering how to make the actors have a voice with Super8 filming. Any ideas? -Jason ___ 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] Recommended splicer for both 16mm and 8mm cuts?
Hi Meg, the Maier-Hancock is probably the best available and were popular among professionals. Though the 816-S model is somewhat rare to come across, the regular model is pretty common. I think I have one available that I could sell you cheaply though the shipping from Canada would be horrendously expensive as the M-H splicers are very large and heavy! There are quite a few smaller cement splicers available on eBay, the Griswold ones are more compact and are of good quality. John From: Margaret Rorison margaret.b.rori...@gmail.com To: FrameWorks@jonasmekasfilms.com Sent: Wednesday, September 12, 2012 7:36:50 AM Subject: [Frameworks] Recommended splicer for both 16mm and 8mm cuts? Hello, I'm looking for a non guillotine film splicer that can cut both 16mm and 8mm film. What brands, makes do you recommend Thanks! Meg -- Margaret Rorison http://margaretrorison.com/ http://redroom.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] Hollis Frampton DVD - defective discs?
Anyone else have issues with the Hollis Frampton DVD set? I bought the set when it came out and disc one arrived with a crack in it. I got it replaced from the store played it once, and just now, months later, the replacement disc cracked in the same manner when taking it out of the case! I've never had this happen before with a dvd. John ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] finishing on 35mm vs 16mm vs HD?
Well what is your exhibition strategy? Festivals? Galleries? YouTube? Touring the country with a hand cranked projector? If your body of work is all film finishes then you could argue for that as part of your artistic practice. Everyone loves a film print but its quite a luxury. Small festivals can't project them, and there is the additional cost of shipping prints. Unless you're famous enough that people show your work sight unseen, you'll need an HD copy for distributing screeners on DVD/Blue Ray or via the internet. Review your past screenings and see what type of formats those places are accepting today. If you have the budget I would get a 16mm finish and scan that to HD. Because of the huge size of 35mm projectors and the fact most are getting scrapped in the HD conversion I think 16mm prints will have a longer practical life because the projectors are small and affordable. At the very least you could project 16mm in your own living room! Or at least that is what I tell myself to justify the 16mm prints collecting dust in my closet. John Woods From: ev petrol epetr...@yahoo.com To: Experimental Film Discussion List frameworks@jonasmekasfilms.com Sent: Monday, September 3, 2012 8:15:09 AM Subject: [Frameworks] finishing on 35mm vs 16mm vs HD? hey folks applying for a grant that asks for an exhibition strategy; I'd thought of budgeting to finish on 35mm but they suggested that might limit the exhibition potential of the film ... have a feeling that might apply to 16mm as well maybe I should budget to finish on HD (sigh) if I want to convince them to cough up what do you think? cheers moira moiratierney.net vimeo.com/moiratierney ___ 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] Labs in Israel?
Everyone has an opinion or a theory on this, all I can tell you is that I've shipped film across Canada and to the U.S. using national post services with no stickers identifying the contents and have never had a roll go bad. I've also had film x-ray'd in my carry on in Mexico with no effects. My 2 cents is that I don't think any postage gets x-ray'd because the massive volume of mail would be too expensive to monitor and the time delay too great. Just think about how long it takes to get through airport security, where they have to stop and scrutinized the contents of your carry on bag. The U.S.P.S. handled 167 billion pieces of mail in 2010, can they afford to have an employee scanning and inspecting every single item? If they do x-ray packages, it would probably only be for those shipped via Air, since the cost is higher and the general paranoia surrounding airport security. John From: Scott Dorsey klu...@panix.com To: frameworks@jonasmekasfilms.com Sent: Sunday, July 29, 2012 6:34:14 AM Subject: Re: [Frameworks] Labs in Israel? I've had post office employees refuse to promise me do not x-ray carries a= ny weight, were they wrong? The post office is not FedEx. The post office normally doesn't x-ray anything but under special conditions they will use all sorts of machinery that is hazardous to film. After the anthrax scare, all kinds of stuff going in and out of various museums in Washington DC has become a problem. Do you really just need to write that on your pa= ckages? I like the big stickers from Markertek. But you need to ship by someone like FedEx or Danzas who carry a lot of film (well, maybe not so much anymore) and know how to deal with it. --scott ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
[Frameworks] tips on solarizing tri-x super 8?
Anyone have any advice to share on solarizing hand processed Tri-X super 8 film? From what I've read it should be flashed about half way through the first developer time. Will just turning on the room light for a half second be enough? Or is a flashlight a better choice? Some of the film will be processed in a lomo tank, the other roll will be spaghetti style in buckets. Thank you! John ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] 16mm to HD transfer equipment
I've had work transfered on MovieStuff gear in both the SD and the HD versions. A friend had a small transfer business with an SD Workprinter it gave great results and was very easy to use on a Mac. At one point we were transfering at his house and his computer went down. We were able to easily set up the machine at my place using my own computer with minimal trouble. The hardest problem is aligning your camera and projector to get a full frame. Its very finicky work and its best that you have a space for a permanent setup.I've also had 16mm transfered to HD at a different post shop. Again great quality for the price. I'm not sure what his exact setup was but he was using a Moviestuff machine. The machines are reasonably fast and work best on reversal film and with footage with consistent exposure. Once you've got your settings up you have to let the machine run the whole roll. Its not very easy to stop in midstream rewind if you need to change your camera exposure for some challenging footage. Negative can be done but it requires more attention to keeping the film and workspace free of dust. As for the bad part. At Cineworks we purchased a unit for HD Super 8 transfers last year. It turned out to be an enormous headache on the tech end. Moviestuff's software was designed for computer specs that are no longer on the market (and the HD unit is not Mac compatible) and we had all sorts of issues between the PC hardware and the software. We built our setup as close as possible to their recommendations but could not find all the exact parts. The owner, was very helpful in assisting us and certainly gave us the top flight tech support you could only get from a small business owner who cares about his reputation. However, a small business can only do so much in providing support for the endless variations of glitches that PC hardware can create. He really needs to update the software and getting Mac support would be even better. If you've got a person with experience building PCs then I would say go for it, if not then consider a stand alone unit like the Tobin transfer system. The Moviestuff design is very popular and many owners regularly frequent message boards dedicated to super 8 shooting and collecting. You might want to check around for more information on their experiences with the machines. John From: Caryn Cline carynycl...@gmail.com To: Experimental Film Discussion List FrameWorks@jonasmekasfilms.com Sent: Wednesday, July 11, 2012 11:53:34 AM Subject: [Frameworks] 16mm to SD transfer equipment Hi Everyone, I'm writing in my capacity as the Film Equipment Center Manager at The New School to ask whether anyone on this list has worked with the MovieStuff High Def and Standard Def 16mm Telecine Equipment. We are considering purchasing something like this that would allow us to do quality in-house 16 to HD transfers. If you have other suggestions (besides filming off the wall with an HD camera, which we currently do sometimes), let me know. We are trying to offer students an alternative to the expensive lab transfers where the minimum is difficult for a student filmmaker to meet. Many thanks. CC -- Caryn Cline Filmmaker and Teacher New York City and Seattle, WA vimeo.com/carynyc ___ 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] Best method for recording a long distance interview
Hi Frameworks, I'm looking for advice on recording a long distance interview. I originally thought I could do it in person with my Zoom recorder but the subject's work plans changed and will not be coming out from the East coast anymore. There are various ways to chat over the internet but I don't have any experience with them or whether you can record the session. My main concern is coming up with a solution that would require minimal work on the subjects end. I also have some doubts about the quality of the average PC microphone, but I wouldn't be against buying a better quality mic for the subject to use. I could also try the old technique of recording a phone conversation if there are any decent gadgets for doing that still on the market. I do have access to a good old fashioned landline but perhaps there is a iphone app that would work as well? Excerpts of the interview will be used in a documentary film. It doesn't need to be hollywood quality but I'd prefer it to be audible without the use of subtitles. Many thanks in advance for any tips! John ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Best method for recording a long distance interview
Thanks David the others, Yes, I am only interested in audio, having video via Skype would be nice but for this project I already have all the images I need.Sounds like investing in a good headset and using the mention software with garage band would be the simplest option. Thank you! John From: David Tetzlaff djte...@gmail.com To: John Woods jawood...@yahoo.ca; Experimental Film Discussion List frameworks@jonasmekasfilms.com Sent: Wednesday, July 11, 2012 7:44:28 PM Subject: Re: [Frameworks] Best method for recording a long distance interview Since the OP mentions a Zoom recorder, I assume John is looking only for audio. When Scott says: If you try and do it over skype or something you have no control over their setup, or over the room acoustics. he's on the right track. That is, the first key point here is that the audio quality on Skype itself is good enough for voice recording. It's better than a traditional phone hook-up. So if you use Skype, the quality will come down to the mic, mic placement, and room acoustics. However it may be easier to assert some control over these things than to get someone locally to do the recording. Having a proxy who has decent recording gear and know how to use it would certainly be the method requiring the least work for the SUBJECT. But that is involved on the subject's end in other ways. On the gear end, you need the subject to have a decent mic. There are many headsets with mics made for use with Skype. Some of them have decent mics, some are awful. If the subject has a Mac laptop they'll need a headset with a USB connection, since Macbook/MacBook Pro etc. do not have inputs for analog mics. (PC laptops generally do... opening up more options, but a USB headset will work on a PC as well.) A good headset with a mic on a boom will solve the placement problem -- the engineering of the mic will match the position. As for acoustics, you just need to ask the subject to find the least problematic room -- avoid small rooms, live surfaces, ambient noises. A living room is usually best, on the first two counts anyway. So what you would mainly need to do is research headsets, identify a model with good sound quality, and figure out a way to get one to the subject (priority mail flat rate?). I would not count on anything that I had not tested myself. Excerpts of the interview will be used in a documentary film. It doesn't need to be hollywood quality but I'd prefer it to be audible without the use of subtitles. You seem to set up a false dichotomy here. Clean, clear audio can be obtained with inexpensive equipment, so no you don't need the full 'professional' rig and approach. But mere audibility will not cut it. Few things in documentary work are more crucial than good audio of speech. And if the original recording is crappy there is no way to 'fix it in post' and it WILL undermine the work. If the interview is worth your time and the subject's to record, it's worth recording well, and that will take some effort (e.g. you do the work to find a good headset that will work with the subject's computer, and to deliver same to subject...) Do not even think about using the recording capabilities of a cell phone, or using the built-in mic on a laptop, or any other similar shortcuts. good luck, djt___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Hand-cranking 16mm projector?
I did a workshop with Alex and he showed us his 'wooden lightbox'. IIRC he took an old Pageant projector, gutted then motor, rewired the lamp for a lower wattage and then connected a rewind crank to the projector's drive shaft. He can get about 8fps with his setup and can run the film backwards and forwards with ease. From: Christopher Harris charri...@hotmail.com To: frameworks@jonasmekasfilms.com Sent: Wednesday, June 13, 2012 12:46:17 PM Subject: Re: [Frameworks] Hand-cranking 16mm projector? Hey Kevin, I seem to recall that Alex MacKenzie used a hand-cranked projector for a performance called the wooden lightbox: a secret art of seeing at last year's (2011) Crossroads Film Festival. I think Alex made the projector himself so maybe he can be a resource for you: www.alexmackenzie.com Good luck! CH From: ke...@videohaiku.com Date: Wed, 13 Jun 2012 12:22:31 -0500 To: frameworks@jonasmekasfilms.com Subject: [Frameworks] Hand-cranking 16mm projector? Hello! I'm working on an installation project, and wondering if there's such a thing as a basic hand-cranking 16mm projector, available for sale, or as something I could strip down from an existing projector. I'm mostly interested in the frame-advance mechanism - I don't need it to have any kind of bulb or motor. Any information / leads / ideas would be very much appreciated! Thanks, Kevin Obsatz www.videohaiku.com ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Dirty Duplicate of spliced 16mm Color Neg
Niagara Custom Lab in Toronto will print negs with tape splices. You could try using Ektachrome 100D to duplicate your film on an optical printer. Or you could use your workprint to compile an EDL and do a neg cut (either or yourself or hire a pro). From: Margaret Rorison margaret.b.rori...@gmail.com To: frameworks@jonasmekasfilms.com Sent: Monday, April 9, 2012 8:07:30 PM Subject: Re: [Frameworks] Dirty Duplicate of spliced 16mm Color Neg Scott, Thanks for getting back to me. If you or anyone else could clarify things, that would be wonderful! I have a work print, which is an interpositive print of the color negative film. The work print was edited by hand and spliced to create a final film. Now, I want to make a duplicate copy of this edited interpositive workprint because I will be projecting it for a week in a gallery and would like a back-up to play it safe. So, I think, by what you are saying (and by what ColorLab has told me) the only way to do this is quite expensive and requires me to pay for both an new internegative that will then make a new interpositive. Is this the only solution in 2012? Thank you for your help, Sincerely, Meg You've got a negative and you want a duplicate negative made? Or you have a negative and you want a print made? Any lab should be able to do either, BUT the bad news is that there is no more CRI stock and no more reversal print stock, so in order to get a dupe negative you have to get an interpositive made and then the interneg struck from that, at twice the cost and loss of resolution. --scott -- Margaret Rorison http://margaretrorison.com/ http://redroom.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] experimential film in the art world
Balsom rightly points out that in the museum world there is a double standard “whereby experimental film-makers are treated with less respect than ‘artists working in film’ – such as Tacita Dean, Stan Douglas or Matthew Buckingham – whose work is never subject to such transpositions.” She goes on to say that “recent exhibition practices have demonstrated the persistent And what was it that put the work of these people into their vaunted status in the museum world? Gallery representation? Art school cred? Press manipulation (publicity stunts, etc.)? Is that what a filmmaker needs to do to be taken seriously? I guess that seems to mostly work for Hollywood. ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] experimential film in the art world
This really does seem a little too cynical. No one is suggesting any such thing. I'm just trying to represent the work of someone who is already well-known and presumably taken seriously. And I guess what it takes is being clear about one's expectations and sticking to it. Yes, that was a dumb, cynical remark I made. But I do have a genuine question as to what were the circumstances that allowed those artists to achieve their special status in the art world presenting film in a gallery setting? I'm mainly familiar with Stan Douglas's work of the past decade which includes film photography (which have sometimes been photos related to a film), so he's got the art school and artist from another field thing in his support but what of Tacita Dean? I havn't seen her work but from my quick study online (ok just wikipedia) she seems to be a filmmaker who happened to be associated with a group of traditional artists who got some notoriety in the late 80s. Clearly she's had a great career, but would the galleries have called if she didn't have famous friends? ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] JK optical printer owners needed
Purchase College film Department (NY) has that gate with their unused Optical Printer. Ask to speak to the Chair of the film department for assistance. Interesting gate, what does that allow you to do? Super 16? ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] BASEMENT MEDIA FEST #3 (2012) CALL FOR ENTRIES
Additionally, we're only accepting submissionms on NTSC DVDs this year. Why not save yourself a whole bunch of hassle and have submissions be electronic? Thats quickly become the new standard and no need to deal with a pile of mile in your basement where submissions can get misplaced. Mailing DVDs is a waste of time, money and resources. ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Shipping Hard Drive Internationally
There are no sensitive files, just project files. Any ideas about the best shipping method, USPS, UPS? Shipping internationally with UPS/FedEx incurs additional 'brokerage' fees when it goes through customs, something that won't happen when you use your national carrier. This fee will increase depending on the value you place on the hard drive so don't be tempted to maximize the value for insurance purposes. ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] What to do with one roll of nitrate film?
While its certainly flammable and should be treated with caution I think there is a lot of misinformation about the danger of nitrate film and people are equating it with nitroglycerin. As shown in this thread there are more occurrences of people storing this nitrate film 'improperly' for decades without harm. How many stories have we heard of a lost silent film being found in barn somewhere? Keep it in a can, put away your cigarettes when you look at it and you'll be alright. I think someone posted this link before but here is a good essay/book review on nitrate film: http://www.horschamp.qc.ca/new_offscreen/dangerous_film.html___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] The Horizontal Scratches.
A horizontal scratch? Unusual! Please send me the link. Are you attempting to source the issue for an insurance claim? Since it seems to be related to the starting and stopping of the camera it does not sound like a lab problem (and the lab snips a few feet off the head of every roll to cover themselves that the scratches don't happen in their machine). If your scratch test during prep didn't turn anything up then it sounds more like a camera issue at the time of the shoot and the idea of the film rubbing against the loop former sounds like a good theory, maybe it was a case of bad loading. Any chance of the rental house letting you do another scratch test? As for a solution I've heard of impressive results for saving scratched film with a wet gate interpositive. Might be worth doing a test. John From: ben russell b...@dimeshow.com To: frameworks@jonasmekasfilms.com Sent: Saturday, February 18, 2012 3:20:23 AM Subject: [Frameworks] The Horizontal Scratches. Frameworkers, I just received a mess of telecine'd color super16mm footage from the lab and was more than a bit sad to see a long parade of emulsion-side horizontal blue scratches on the right 1/4th of the frame. I shot about 2.5 hours of footage with an Aaton Minima (a camera I wouldn't really recommend, either way) and the scratches are present throughout all the rolls - while they are not on every shot, when they do appear they happen just after the camera has started again. A tech suggested that it might be the film slipping in the gate at the end of a shot, making the loop too large on one side and scratching against the loop former. The place I rented the camera from says it's not their fault (and they've never seen such scratches produced by a camera in 15 years...) and the lab of course doesn't want to be responsible, so any words to the contrary would be appreciated. Have any of you run into this sad curiosity before? I'm happy to send a VIMEO link to anyone who wants to see support material. Thanks In Advance, BR ___ 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] Kodachrome
http://www.filmrescue.com/ I think they are the only game in town, they are in Canada but have a U.S. mail box and they can only get a BW negative image from the film. From: matthew brown matthewfrancisbr...@gmail.com To: frameworks@jonasmekasfilms.com Sent: Saturday, February 18, 2012 6:39:52 PM Subject: [Frameworks] Kodachrome Hello, I recently received some Kodachrome that belonged to my great grandmother and is very much past expiration date. It is regular 8mm, I have two reels, one says develop before 1948 and the other 1955. I was wondering if there were any labs that might still process the kodachrome...preferably in the US I know that I wont necessarily get amazing images but I still want to use the film to see what I get, which all hinges on processing... Thanks, Matthew Brown ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Where to buy Lomo Tank
Hi Sedi. Lomo tanks are difficult to find at antique markets/ photo stores with all of their necessary bits and pieces intact. I bought mine, with all the bits (except for the spiral loader) in its original box off of ebay. Right now I see two current ebay listings at fairly reasonable prices (although the second one listed doesn't look as complete as the first): Note that at present all the Lomo Tanks on eBay are the 10 meter variety so they can only load 30ft at a time. They are more for people using 25ft long loads of Regular 8 film which is why the price is reasonable. The 50ft variety are usually around $150. You could still use those ones of course if you don't mind having a random splice in your 50ft loads. ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] E-6 Imperfections
According to Martin Baumgarten (and other sources you should be adding developer time as you exhaust the chemicals: http://lavender.fortunecity.com/lavender/569/spiralreel.html ~~~ BLACK WHITE Film Processing Control ~~~ (1). The best way to maintain control of your processing for any process type, is to keep track of how many films you have processed in a given solution and either replenish the solutions so they maintain full-strength and/or adjust your processing time. A Liter of chemistry will process about 6 to 8 rolls of Super 8mm film. After each roll of film if processing separately, add approximately 15 seconds to each Developer time only. Or after processing two rolls of Super 8mm film, add 30 seconds to the next film batch. These are approximations intended to quide you to correct final film density. He also recommends creating your own control strips so you can keep track of the density. He describes that process on that link. I've never done that but if you have a large amount of film to process its probably worth the effort. From: nicky.ham...@talktalk.net nicky.ham...@talktalk.net To: frameworks@jonasmekasfilms.com Sent: Wednesday, February 15, 2012 10:08:03 AM Subject: Re: [Frameworks] E-6 Imperfections I'm pretty sure Sixty films refers to 36 exposure 35mm slide films, not Super 8 films. One 35mm slide film is about 1.3meters long, which roughly equates to five meters of Super 8, whereas a roll of Super 8 is 15 metres long. That means a 5 litre kit would process about twenty rolls of Super 8 and a one litre kit only about four. (Correct me if I've blundered with the sums!) Nicky. -Original Message- From: Kevin Timmins on-on...@hotmail.com To: FrameWorks frameworks@jonasmekasfilms.com Sent: Wed, 15 Feb 2012 17:47 Subject: Re: [Frameworks] E-6 Imperfections Oh right, thanks Nicky On the box it says that the 5 liter kit can process 60 films. I did the simple math and figured that 1ltr should process 12 films with good results. Apparently not! Seems a little cunning to state it can do twice the amount the chemicals are capable of! Best Kevin To: frameworks@jonasmekasfilms.com Date: Wed, 15 Feb 2012 12:31:07 -0500 From: nicky.ham...@talktalk.net Subject: Re: [Frameworks] E-6 Imperfections I think you may be over-using the chemicals, assuming it's the Tetenal three bath kit. If you do the calculations you can do up to six rolls safely, but strictly five rolls, if I'm not mistaken, so the sixth is a bonus. After that you're gambling with exhausted chemicals, Nicky Hamlyn. -Original Message- From: Kevin Timmins on-on...@hotmail.com To: FrameWorks frameworks@jonasmekasfilms.com Sent: Tue, 14 Feb 2012 17:17 Subject: Re: [Frameworks] E-6 Imperfections Hi Erin, Indeed I am using a Lomo developing tank. I did checked the spacing of the film on the reels whilst hanging it to dry and all the film looked perfectly mounted. However I suppose it could have shifted and re-shifted in the tank during the reversal process? I don't know if this will help but the brown bits aren't as visible on the lighter (outdoor images) but are worse on the indoor images. For example one roll of film (100D) was used indoors and it was inevitably very dark anyway. The brown transparent layer seemed much more prominent on these darker images and was much more noticeable. Can that tell me anything? Kevin Date: Tue, 14 Feb 2012 09:59:00 -0500 From: eri...@gmail.com To: frameworks@jonasmekasfilms.com Subject: Re: [Frameworks] E-6 Imperfections Hi Kevin, Are you using a lomo tank? Your problem sounds like the same one I have had with both E6 and BW reversal in lomo tanks. I think those brown bits are occurring anywhere that the film slips out of alignment and touches an adjacent piece of film for too long. Neither bit of film is then making proper contact with the processing chemicals. Further, this seems to be happening somewhere in the reversal stage. In one case I actually had this layer going on for a while with bits of negative and positive imagery appearing throughout it. I inferred that that the film was making proper chemical contact at various stages of the process, but not all. That was a particularly poorly loaded tank. In the case I have described above, the brown stuff is opaque and seems almost thicker than the rest of the film. On other film stocks it appears as different colours. Strange that you only had this problem on your 7th and 8th rolls, but less strange if you processed them together. Maybe you are encountering something totally different. Hope this helps, Erin On Tue, Feb 14, 2012 at 7:52 AM, Kevin Timmins on-on...@hotmail.com wrote: Hi all, I've been doing a lot of Super 8 developing for people over the last few weeks. The last two film I developed last night had an interesting
Re: [Frameworks] seeking double perf film
I think your best bet is to go with the 7363 high-contrast b/w film, if you want camera pitch (.2994.) It's really cheap, something like $50 for 400 feet and no minimum. If you want lab or high-speed pitch (.3000), go with the 7302 positive b/w print film. It's cheap too-- $180 for 2,000 feet, with only a 2-core minimum. The problem with these stocks is that they are like 6asa, you'd need a ton of light to use them for high speed photography. ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] seeking double perf film
There is apparently a guy in England that re-perfs 2R film for use as regular 8. I don't see why you couldn't provide him with a single perf film of your choice and he could then make into 2R film for you. His information is in this thread: http://www.filmshooting.com/scripts/forum/viewtopic.php?f=1t=22342 From: sarah browne sarahjbro...@yahoo.ie To: frameworks@jonasmekasfilms.com Sent: Monday, January 23, 2012 3:44:36 AM Subject: [Frameworks] seeking double perf film Hi everyone, Anyone have any leads for double perf stock shippable to Ireland / UK? Ardmore / Kodak, Fuji UK and filmclearance.co.uk have so far drawn a blank. Tips very welcome! Thanks Sarah www.sarahbrowne.info ___ 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] Robert Fenz on dvd?
Is any of Robert Fenz's work or in particular his Meditations on Revolution series available on DVD? Apart from a few short clips on the net and the odd festival screening it appears really difficult to see his work.___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Super 8 Digital Transfers - Amended -- correction
Jeff, very interesting document that you put together, thank you! What are your thoughts on the quality of using optical printers modified to work with DSLRs for transfering 8/16mm? John ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
[Frameworks] printing colour neg onto BW stock
Anyone have any tips on printing colour negative onto black and white stock? I understand you need to print onto camera stock as the orange mask can act as a safelight to the orthochromatic print stocks. Are there any other pitfalls to be aware of? John ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Where to send Super 8 Ektachrome G160 7240 for processing, please?
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 DO NOT send you film to Rocky Mountain Film Lab unless you are interested in having your money stolen and your film lost: http://photo.net/film-and-processing-forum/005jsk However DO send your 7240 to Niagara Custom Lab. I sent them some test strips of 7240 and 7250 that they processed in E-6. The tests results were decent at normal exposure and processing. The colours didn't quite pop but given it was 15 year old free film stock, I'm pretty happy :) ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] double exposure
I'll add that you have to consider what is being double exposed on, once you reach white saturation, no additional exposure will develop any image in there. So would you suggest that it is better to do the first exposure on a nice dense object (say a human face) and then do a 2nd exposure of something bright like clouds or a skyline? Or would the brightness of the clouds overwhelm what the first exposure was? ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] JK printer settings for 8mm to 16mm blowup
Thanks Robbie, its a H16 Rex 5 Bolex. I've used this printer setup to successfully do straight 16mm work in the recent past. In trying out the Super 8 gate I have not yet printed any film. JK recommends a 50mm lens with ballpark distances of 9 from gate to gate, with a 1.5 tube extension and a bellows size of 3.5. This gives me no discernible image looking through the viewfinder. However I can get an image in focus with a distance of 7.5 between gates but this leaves the lens camera near the maximum extension possible on the rails. This would be fine but it doesn't quit fill the frame in the viewfinder. I'm guessing I need further extension tubes. John From: Robbie rahb...@yahoo.com To: John Woods jawood...@yahoo.ca; Experimental Film Discussion List frameworks@jonasmekasfilms.com Cc: frameworks@jonasmekasfilms.com frameworks@jonasmekasfilms.com Sent: Monday, October 10, 2011 10:01:25 PM Subject: Re: [Frameworks] JK printer settings for 8mm to 16mm blowup What camera are you using? Is it a bolex reflex? Can you see the image through viewfinder? And if so, is it in focus when youve sot your previous outoffocus attempts? 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 hot ___n you've s 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] JK printer settings for 8mm to 16mm blowup
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 ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
[Frameworks] hand processing problem - remjet?
Hi, I hand processed an old roll of exposed BW 16mm film this past week. It was probably 20+ years old, in one of the old silver 100ft cans and had no film label but was marked exposed and thought I'd give it a try to see if I could get some sort of fogged image out of it or at least get some blank leader out of it. I ended up getting something more interesting. After I drained the fix out of my Lomo tank I noticed small bits of black emulsion floating in the chemistry. As I finished up and hung it to dry more of this black backing came off on my hands. I'm begining to think this was a remjet backing, possibly from a 7277 4-X film. Anyone have any advice on my results? Thx! John___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
