Re: [Frameworks] Beaulieu 4008ZM4 Super 8 silent camera

[Nicholas Kovats]

Hi Fred,

Current Beaulieu 4008 users highly recommend this Spanish service for a new
modern rechargable battery, i.e.
http://professionalbatterycharger.com/beaulieu_4008_battery_accu_930_mah_eneloop_pro_cells_charger_re_cell_new.html


On Fri, Sep 4, 2020 at 3:43 PM Fred Camper  wrote:

> I have one of these that I have not used in decades. Worked fine in the
> 1980s! Great camera. Anyway, it seems rather ecologically incorrect to
> just store it when someone else might use it, so I wnt to try to sell
> it. But first I need to make sure it runs OK. Obviously the batteries it
> came with no longer function. Does anyone have any experience with this:
>
>
> https://www.ebay.com/itm/Beaulieu-4008-Replacement-Battery-Pack-with-Charger-Model-Mk-II/254624493578?hash=item3b48cd700a:g:FqEAAOSw7qdZ613N
>
> or have a better solution? My idea is to take a chance on buying a
> battery in the hope that the camera works, and then try to sell it -- or
> try to sell it for almost nothing even if it doesn't work, for display
> as a living room museum piece?
>
> Fred Camper
> Chicago
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Re: [Frameworks] New Lenny Lipton Book!

[Nicholas Kovats]

Utterly fantastic. Bravo!

On Wed, Jun 3, 2020 at 3:42 PM Ken Paul Rosenthal <
kenpaulrosent...@hotmail.com> wrote:

> Yesterday, I had a delightful phone conversation with Lenny Lipton--a true
> gentleman and a really gentle man. What a treat to talk shop with the man
> who wrote the seminal publications, 'The Super 8 Book' and 'Independent
> Filmmaking', among others. And in October 18, 2020, he's coming out with an
> epic, 550-page tome titled, 'The Cinema in Flux: The Evolution of Motion
> Picture Technology from the Magic Lantern to the Digital Era'. Details
> here:
> https://www.amazon.com/Cinema-Flux-Evolution-Picture-Technology/dp/1071609505
>
>
> Ken
>
> 
> 
>
> www.kenpaulrosenthal.com
>
>
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Re: [Frameworks] Recently completed animation restoration

[Nicholas Kovats]

Well done! Thanks for the undertaking.

On Wed, Apr 1, 2020 at 3:45 PM  wrote:

> For a little diversion I offer a little project I’ve just completed. A
> full restoration of an animation produced by the very talented Fred Burns
> at USC in 1974, with a soundtrack by George Winston.
>
> 95% of the original art still existed. It was scanned for color and matte
> at 6K, and in the French software TVPaint was re-imagined at 4K.
>
> This approach eliminated the traditional problems of neutral density of
> the cel stacks associated with traditional rostrum photography, and offered
> other “liberties” taken with the art to create this new version.
>
> This was a test / proof of performance for a larger ongoing project Fred
> and I are working on.
>
> Enjoy.
>
>
>
> https://vimeo.com/403043854
>
>
>
> Casey Herbert
>
> Chief Pixel Wrangler
>
> Flying Foto Factory, Inc.
>
> www.flyingfoto.com
>
> 919.682.3411
>
> [image: image001]
>
>
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Re: [Frameworks] Seeking Mike Hoolboom

[Nicholas Kovats]

Hi Pip,

I just verified that Mike's page and email contact are up, i.e.
http://mikehoolboom.com/thenewsite/?page_id=320. I am not sure about his
phone number.

Nick

On Sun, Jan 5, 2020 at 10:42 AM FrameWorks Admin 
wrote:

> Dear all,
> I recently sent an email to Mike Hoolboom which was returned.
> I checked the contact page on his website and it just shows Buster Keaton
> saying “bye”.
> Then I tried calling him and the phone number is disconnected.
> Does anyone have any news or a new number? Please contact off list.
> Thanks!
> Pip Chodorov
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Re: [Frameworks] Camera question

[Nicholas Kovats]

Spot on, Jeff.

Is this the  Concord MTC-11 that you mentioned regarding the Beatles press
conference?

"Andy Warhol, right, waits among the photographers at a Beatles press
conference in New York, October, 1964
Photograph: Tony Ray Jones/Getty Images/SSPL"

https://www.theguardian.com/music/gallery/2014/jan/29/thebeatles-ringo-starr#img-7


On Wed, Dec 11, 2019 at 7:14 PM Jeff Kreines  wrote:

> Claire:
>
> The camera is a Concord MTC-11, a relatively cheap and compact B video
> camera.  Mostly used for surveillance.  Warhol used one in August, 1965
> when Norelco lent him a videotape recorder (in addition to the Norelco
> camera).
>
> He apparently carried it around as a fetish object/prop, since in most of
> these situations the camera wasn’t attached to a recorder or even a
> monitor.  You can see it (with a Switar lens instead of the Canon 25-100
> zoom shown in this photo) at a Beatles press conference in 1965
> (misidentified as 1964 by Getty).  It’s mentioned in a couple of books
> about Warhol, and IIRC also mentions it in the October, 1965 article in
> “Tape Recording” magazine.
>
> Blake Gopnik and Greg Pierce asked me about it last year, but apparently
> for a different book.
>
>
> Jeff Kreines
> Kinetta
> j...@kinetta.com
> kinetta.com
>
> On Dec 11, 2019, at 3:03 PM, Claire Henry, Curatorial <
> claire_he...@whitney.org> wrote:
>
> Ack, here’s the link.  Apologies!
>
> Claire
>
>
>
> https://pro.magnumphotos.com/Catalogue/Burt-Glinn/1965/USA-NYC-Andy-WARHOL-Edie-SEDGWICK-and-Chuck-WEIN-NN112607.html
>
>
> *From:* FrameWorks [mailto:frameworks-boun...@jonasmekasfilms.com
> ] *On Behalf Of *Claire Henry,
> Curatorial
> *Sent:* Wednesday, December 11, 2019 4:00 PM
> *To:* Experimental Film Discussion List (frameworks@jonasmekasfilms.com) <
> frameworks@jonasmekasfilms.com>
> *Cc:* Jessica Palinski, Curatorial 
> *Subject:* [Frameworks] Camera question
>
> Hi Frameworkers!
>
> We need some help identifying a camera in a photo of Warhol for our
> catalogue raisonné.  Does anyone know what kind of camera Warhol is holding
> in these photos by Burt Glinn from 1965?  I’m thinking Super 8, but am
> unsure.  If anyone could provide any help that would be amazing and very
> welcomed.
>
>
> Thanks!
>
> Claire
>
>
> Claire K. Henry
> Assistant Curator
> The Andy Warhol Film Project
> Whitney Museum of American Art
> 99 Gansevoort Street
> New York, NY 10014
> Tel: 212 570 7740
> Fax: 212 929 2019
>
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Re: [Frameworks] Experimental Animation over live action

[Nicholas Kovats]

Fantastic work, Chris!

On Sun, Oct 20, 2019 at 10:32 PM Christopher Ball 
wrote:

> Yes, I made one:  It is on youtube:
> https://www.youtube.com/watch?v=gRiGzHKpUaY
>
> https://www.youtube.com/watch?v=1VaM9hPGI_o
>
> On Sun, Oct 20, 2019 at 10:32 PM Chris Rodriguez <
> rodriguezchris...@gmail.com> wrote:
>
>> Hi everyone!
>>
>> I’m planning on making an experimental student film that mixes live
>> action with animation and I was wondering if anyone had any suggestions
>> that we could use as reference/ inspiration. Thanks in advance!
>>
>> Chris Rodriguez
>> rodriguezchris...@gmail.com
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[Frameworks] New Super 8 film "Gitpu"

[Nicholas Kovats]

The title of my new Super 8 film "Gitpu" is Mi'kmaq for eagle.

My cousin Lorne's spiritual connection with nature did not prepare me
for his passing. A heartfelt thank you to my dear friends and
collaborators who attended Gitpu's debut last evening at the Pleasure
Dome New Works screening in Toronto, Canada.

https://vimeo.com/252260456

password = bolex
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[Frameworks] Visionary filmmaker, Paul Clipson has passed.

[Nicholas Kovats]

It is with a very heavy heart that I must tell you that visionary
filmmaker, Paul Clipson, has passed. I cannot believe it. He was 52.
We are reeling. .

https://vimeo.com/109943175
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[Frameworks] Fwd: [AMIA-L] New home needed for brand new 16mm Eastman projector parts

[Nicholas Kovats]

FYI

-- Forwarded message --
From: David Wells 
Date: Tue, Jan 9, 2018 at 1:57 PM
Subject: [AMIA-L] New home needed for brand new 16mm Eastman projector parts
To: ami...@lsv.uky.edu


We just got a call from a gentleman in the L.A. area who has brand new
projector parts for 16mm Eastman projector models 250 & 275. For more
information, please contact Robert Olling directly at 818-765-5291.

Posted by David Wells, NFPF (we...@filmpreservation.org)
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Re: [Frameworks] Kodak Super8 digital camera

[Nicholas Kovats]

Dave,

For the second time in my life I referenced a Dane as a Norwegian. :)

Here is the Logmar's Danish web site, ie http://www.logmar.dk/



On Sat, Jul 15, 2017 at 10:23 PM Dave Tetzlaff  wrote:

> Nicholas wrote that the Kodak was designed by Logmar. I couldn’t find
> anything about this online, but I assume since Nicholas has one of the
> Logmars, he’s in touch with the company and knows what he’s talking about.
> Logmar apparently made 50 units in one batch in 2014 and that was the end
> of production. If the Kodak is a more simplified mass-mkarket version of
> the Logmar then we might see a declining price curve, since the Logmar was
> $6000, the 'limited edition' Kodak is supposed to be $2000, and I found an
> early projection for the ‘standard’ Kodak at "around $400 to $750". They
> may have abandoned that target, as they’re already way past the release
> dates they projected when they first showed prototypes. Heck, the whole
> thing may turn out to be vaporware. But if not, we could wind up with a
> tool that’s priced accessibly enough to a base of niche users big enough to
> keep it afloat. Or not.
>
> The question then is, who is in that niche, besides the professional
> customers served by Pro8mm, and "trust-fund hipsters”.
>
> For experimental makers, I think Jeff identifies well that the question
> goes back to the format itself, and especially to the stocks available. I
> share Jeff’s sentiments that "the S8 aesthetic” is really based on reversal
> stocks. Thus, I just shook my head seeing the dust and scratch marks in
> that test footage: negative! what a pain!m I’d go beyond that to argue that
> most experimenatl work is best served by shooting reversal, in 16mm too, if
> only because you can do so much more work with it yourself.
>
> We might hope if the ‘digital’ Kodak sells to whatever targets Kodak sets
> for it, that might lead to new stocks being released, including reversal.
> But I wouldn’t hold my breath. Once video supplanted Super 8 in the 80’s,
> Kodak seemed to ditch any interest in ‘non-professional’ users of motion
> picture film. Back in the early aughts, every year at UFVA I used to plead
> the case for small colleges doing more ‘personal’ filmamking with the Kodak
> education reps, including the importance of color reversal. I might as well
> have been talking to a wall. No one from Rochester was capable of
> understanding filmmaking outside of some commercial model, and all the
> ‘education’ efforts were directed at the big industry feeder schools and
> framed within the context of training for professional cinematographers.
> The new camera, and the negative stocks (to be processed by Pro8mm,
> apparently) suggest that mentality hasn’t changed at all. That is, seem to
> not even be aiming for the trust-fund-hipsters, but that ‘pro’ Super 8
> thing keeping Pro8mm going.
>
> Jeff argues that "Color neg in Super 8 just looks like bad 16mm,” and 16mm
> remains a better, more cost effective choice for experimentalists and other
> ‘personal’ makers. The question then, is why anyone would choose to work
> with this digital Kodak S8 over 16mmm.
>
> Professionals are likely to have a negative view of 16mm – that it just
> looks like bad 35mm. For them, the format and the gear of 16mm aren’t
> different enough to speak a different aesthetic from what they’re used to.
> To ‘think different’ they have to go smaller and shittier, even if that’s
> not the lovable 'small and shitty' of a Canon 814 shooting Kodachrome
> oldsters like Jeff and myself once knew.
>
> For us in the non-commercial world, who are generally happy with 16mm,
> even in the absence of the reversal aesthetic I can imagine some uses where
> the smaller all-in-one form factor of the Kodak would be a benefit. This
> would be especially so if it turns out to be quiet enough for decent sync
> shooting. One of it's features is that it records digital audio to an SD
> card when the film is running. Presumably, this comes back in sync with the
> digitized video as a single file in ProRes or whatever. That’s something
> you can’t get in 16mm – easily syncable double system hifi sound all in one
> self-contained hand-held body you toss into a backpack or whatever like a
> mid-sized camcorder…
>
> But yeah, if you’re shooting MOS true-film, I don’t see why you’d forsake
> a Bolex or an R16 or whatever for one of these…
>
> Maybe people who are licking their lips for the Kodak could say why,
> speaking specifically to the comparison to 16mm?
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Re: [Frameworks] Fwd: Kodak Super8 digital camera

[Nicholas Kovats]

Which specific Bolex Reflex viewfinder are you referring too, Scott?
My regular and UltraPan8 Bolex 13x Reflex viewfinders provide a crisp
clear image. Not as bright as the later Aaton and Arri viewfinders but
quite good considering it's prism based.

On Fri, Jul 14, 2017 at 1:15 PM, Scott Dorsey  wrote:
>> https://www.youtube.com/watch?v=23eNNss0ZFY
>
> I hate to say it, but this most looks very soft, even for Super-8, although
> there are a couple shots here and there (like at 1:35) that are okay.  I don't
> know if that's because the digital finder makes it hard to focus accurately
> or if the lens they picked for the test is not so happy wide-open.
>
> I am admittedly skeptical about the finder although I have to say that it's
> hard to make any finder worse than that on a Bolex Reflex and people have
> survived with Bolexes for a long time.
> --scott
>
>
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[Frameworks] Fwd: Kodak Super8 digital camera

[Nicholas Kovats]

Predictable negativity not withstandinghere are two recent test
shots with the new Logmar designed Kodak Super 8 camera, i.e.

https://www.youtube.com/watch?v=Bq1vP0viRO8
https://www.youtube.com/watch?v=23eNNss0ZFY

I have the original Logmar prototype Super 8 camera that the new Kodak
S8 cam is based on. Here is a rough sketch I did, i.e.

https://vimeo.com/180784477

Logmar is also developing a handheld 65mm camera with fold out 4K LCD
screen and under 25 lbs, Their camera designs are controversial for
the absence of an optical finder. Their Kodak contract saved their
tiny company which is essentially a two man (father + son) operation
based in Norway. But I look at it this way. I and others have invested
in the ongoing development of motion cameras. We have yet to exhaust
film's incredible potentials. Digital/analog hybrid camera engineering
is a product of our times. There is another project underway by a
Swiss engineer to build a self-blimped Super 8 camera that looks like
a miniature Arri 435.

Micheal Leblanc (DOP) just finished shooting a 90 minute Super 8
feature here in Toronto with Pro8mm Canon 1014XL w. MAX8 gates. There
are many more active Super 8 projects.

Shoot film!


-- Forwarded message --
From: Kolberg, Sarah 
Date: Fri, Jul 14, 2017 at 11:23 AM
Subject: Re: [Frameworks] Kodak Super8 digital camera
To: "frameworks@jonasmekasfilms.com" 


Hi all -



I know that Kodak has a couple of prototypes of the new Super8 digital
but they are - as of January - not yet available for "trying out."
But should be soon.



to offer a little clarification on the film developing with digital
angle through Pro8mm in Burbank (Kodak's suggested developer):



Their digital upload service is available but not part of their
standard development expense, and cost depends on resolution - it's
$10 per gb - so getting it that way would certainly expedite access to
working with it but those costs can quickly add up.



typically it takes 2-5 business days to process and send back
(obviously the length of time here is affected by whether the film is
shipped film overnight or 3day etc) but they do offer a rush service
that costs $200 per film stock type, and covers all the rolls of the
same type per type



I know his because we got a handful of super8s from Kodak for a master
class we held with Isaac Julien earlier this year.  Margaret (or
others) if you want to contact me off line I can give you the contact
info at Kodak and maybe once the newer model is available for tryouts
(and it may be by now) which you can pass along to the art school.



best,



~ sarah






From: FrameWorks  on behalf of
Margaret Rorison 
Sent: Friday, July 14, 2017 11:09 AM
To: frameworks@jonasmekasfilms.com
Subject: Re: [Frameworks] Kodak Super8 digital camera

Thanks for the input. A local art school was curious about it and I
wanted to ask around, since I know nothing about this hybrid model and
its expenses.

thanks!
meg


>
>
> Today's Topics:
>
>1. Kodak Super8 digital camera (Margaret Rorison)
>2. Re: Kodak Super8 digital camera (Jeff Kreines)
>3. Re: Kodak Super8 digital camera (Francisco Torres)
>4. Re: Kodak Super8 digital camera (Dave Tetzlaff)
>5. Re: Kodak Super8 digital camera (j miner)
>
>
> -- Forwarded message --
> From: Margaret Rorison 
> To: frameworks@jonasmekasfilms.com
> Cc:
> Bcc:
> Date: Thu, 13 Jul 2017 14:23:55 -0400
> Subject: [Frameworks] Kodak Super8 digital camera
> Has anyone had the chance to experience and use this tool?
>
> Any exciting notes, critiques or comments?
>
> thanks!
> Meg
>
> ---
> http://margaretrorison.com/
> http://sightunseenbaltimore.com/
>
>
>
> -- Forwarded message --
> From: Jeff Kreines 
> To: Experimental Film Discussion List 
> Cc:
> Bcc:
> Date: Thu, 13 Jul 2017 17:38:16 -0500
> Subject: Re: [Frameworks] Kodak Super8 digital camera
> It's a camera designed by someone who had never used a Super-8 film camera. 
> Mindless design. No optical viewfinder, just a flip out video screen. The 
> only good thing about it is the C-mount lens.
>
> Plus, it is overpriced.
>
> Jeff Kreines
> Kinetta
> j...@kinetta.com
> kinetta.com
>
> Sent from iPhone.
>
> On Jul 13, 2017, at 1:23 PM, Margaret Rorison  
> wrote:
>
> Has anyone had the chance to experience and use this tool?
>
> Any exciting notes, critiques or comments?
>
> thanks!
> Meg
>
> ---
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> http://sightunseenbaltimore.com/
>
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Re: [Frameworks] History question

[Nicholas Kovats]

Amazing!

On Sun, Jun 26, 2016 at 12:08 PM, Pip Chodorov  wrote:
> Henri Chomette did some of that in 1925 although he used train tunnels - not
> sure if headlights were bright then (see around the two-minute mark and
> around 5:40 of https://www.youtube.com/watch?v=YcQdU94mJs4).
>
> There are also some bits in Man Ray's Retour à la raison from 1923.
>
>
>
> At 15:42 + 26/06/16, Gutenko, Gregory wrote:
>>
>> What was the first film to do a time-exposed single-frame sequence from a
>> car/driver POV?
>
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Re: [Frameworks] LaborBerlin: 2 days left

[Nicholas Kovats]

Very happy for all concerned that 101% financing was achieved!

On Tue, Mar 22, 2016 at 6:00 AM, Esperanza Collado
 wrote:
> Friends,
>
> Our colleagues in Berlin need a last push to make it. Please help if you
> can. Only 2 days left!
>
> Thank you very much to all that have already donated but now we come to you
> in full panhandler mode. We've raised over 23,000 but we need one last push.
> We have two days left. So check your pockets, your spare change bowl, and
> the inside of your shoes. Steal some from the collection tray in church or
> swindle the kid with the lemonade stand. Remember, you can't take it with
> you when you die. Anything you give us goes to the Film Gods. May they
> shower you with silver halide and gelatin riches.
>
> Click here > LABORBERLIN 2.0 - FILM AIN'T DEAD
>
> Thank you, good bye.
>
> Love,
> Juan + Anja
>
> *if you don't know what we're talking about read below.*
>
> ---
>
> On Mon, Feb 29, 2016 at 10:20 PM, Juan David Gonzalez Monroy
>  wrote:
> Dear friends and lovers of film,
>
> As we hope you've already heard, 2 weeks ago, LaborBerlin, the independent
> artist-run film lab that we're a part of, launched a new crowd- funding
> campaign called LaborBerlin 2.0 - FILM AIN'T DEAD.
>
> If you have no idea what we're talking about, here it is in a nutshell:
>
> We are raising funds to purchase professional processing and printing
> equipment from Film16, a small German lab that recently closed.
>
> Why? (Lofty goals) Most professional film labs around the world are closing
> and we want to protect analog film technology and ensure the future of
> motion picture art.
>
> Why? (Practical reasons) The machines are small and perfectly suited for our
> space and processing needs.
>
> Why? (Brass tacks) We want to keep making films and this is the the way
> we've found we can make them. Without the lab and the people there, none of
> the films we've made so far would've been possible. We want to make more and
> we want our friends in Berlin to make more. That's why we're asking for
> help.
>
> We have already received a great deal of support so far (23% of our goal at
> the time of this message + 2000€ external donations ). If you've already
> helped us out know that we're infinitely grateful. However, we still have a
> ways to go so please take a few minutes to look at our campaign page:
> LABORBERLIN 2.0 - FILM AIN'T DEAD
>
> When you click, you'll see that we also have a lot of stuff you can take
> with you as a reminder of your good deed. We have bags, shirts, and if, you
> have a bookshelf or a dvd player, stuff to put on or into those and if you
> have walls, and we hope you do, some stuff to hang on them. For those that
> have kept your film projector clean and lubricated, we also have some nice
> 16mm prints (from Jodie Mack and Margaret Rorison) for you to take home and
> screen over and over again (no ticket, no festival pass needed). And finally
> for those that want to get their hands dirty we have workshops where you can
> learn to make your own films to screen when, where and with whoever you
> please.
>
> So take a look, give us a hand and thank you for listening.
>
> All the best,
> Juan + Anja
>
> --
> Esperanza Collado
> - - - - - - - - - - - - - -
> www.esperanzacollado.org
>
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[Frameworks] Fwd: New Kodak Super 8 movie camera

[Nicholas Kovats]

Yup.

There is a brand new Super 8 camera introduced by Kodak and it is
projected to be available in fall 2016, i.e.
http://www.bloomberg.com/news/articles/2016-01-07/new-kodak-super-8-concept-camera-first-look-video

Kodak saw the Logmar Super 8 camera back in Cinegears 2015 and a
prelimiary deal was made with the Danish father and son engineering
team to design both the hardware and software for the forthcoming
series of Kodak Super 8 camera systems.

The original inspiration as per Kodak's interest, i.e.
http://www.logmar.dk/. The new Kodak Super 8 camers will share
attributes of the original Logmar S8 camera. I have the only one in
Canada. Kodak has now dropped any reference to the Logmar name on
their web site. It has been speculated that there is now an
"exclusivity agreement" in place. Kodak also contracted a famous
designer for the overall look, color and button shapes that is Yves
Béhar. He is the founder and principal designer of Fuseproject, i.e.
http://www.fuseproject.com/. Gotta have the new camera's power button
match Apple esthetic.

Speculation and rumour are rife at the moment but the following
products and/or services have been announced as part of the new Kodak
eco-system initiative.

1. Dec 21/15 P-200 Film Cleaning System, i.e.

http://www.kodak.com/ek/US/en/corp/Press_center/KODAK_Introduces_Innovative_Film_Cleaning_System/default.htm

"The KODAK P-200 system consists of a compact machine that measures
only 31w x 21d x 51h inches with touchscreen controls for navigating
the operating modes. It uses KODAK HFE 7200 Film Cleaner Solution, an
environmentally safe solvent with a zero ozone depleting
classification, and a very low toxicity rating (near zero). Adding to
the system's efficiencies, Kodak is offering the solvent in low
quantities for the first time, eliminating the need to invest in large
orders of film cleaning supplies."

2. Jan. 06 - Logmar designed Super 8 Camera w/ Yves Béhar designer "accents" :)

- high end will be metal construction at approx $1000 US (2000 units).
- lower end plastic model approx $499/$700 US.

Some preliminary specifications, i.e.
http://www.newsshooter.com/2016/01/06/kodak-goes-back-to-the-future-and-announces-a-new-super-8-film-camera/

FILM GAUGE
SUPER 8 ( EXTENDED MAX-8 GATE )

FILM LOAD
KODAK CARTRIDGES WITH 50 FT (15 M)

SPEED
VARIABLE SPEEDS (9, 12, 18, 24, 25 FPS) ALL WITH CRYSTAL SYNC

LENS MOUNT
C-MOUNT

FOCAL LENGTH
FIXED / 6 MM, 1:1.2 – RICOH LENS (OPTIONAL ZOOM 6-48 MM LENS )

FOCUS / APERTURE
MANUAL FOCUS & IRIS

VIEWFINDER
3.5? DISPLAY THAT HAS A STANDARD DEFINITION VIDEO INPUT AND SUPPORTS
SWIVEL +/- 45 DEGREES

EXPOSURE
EXPOSURE CONTROL
CARTRIDGE DETECTION (SPEED NOTCH)
BUILT-IN LIGHT METER FOR SUPPORTED SPEEDS OF ALL KODAK FILM TYPES
MANUAL SPEED / MANUAL IRIS SETTING

POWER SUPPLY
BATTERY & CHARGER
INTEGRATED BATTERY AND CHARGER VIA STANDARD USB WALL ADAPTER

CONTROL PANEL / SETTINGS
CONTROL PANEL VIA VIEWFINDER 3,5? TFT LCD

SETTINGS
VIA JOG WHEEL AS USER INTERFACE

3. A new Kodak processing lab in New York.

4. One stop shop model whereby consumers can purchase film stock,
process and a digital scan (allegedly 4K) from Kodak. Customer's will
take delivery of said digital scan via the internet and Kodak will
ship the original S8 negative with a S8 print. That is not a typo and
we are are attempting to officially confirm the print delivery. Total
package price is rumoured to be $50-$75 US. Longtime Kodak small
format partner Pro8mm in California has been making inquiries
regarding purchase of a 2nd hand contact printer from the Cinelicious
post house.

5. The Kodak CEO has been stating that there are additional
post-production tools forthcoming.

I suspect that the hipsters will adopt this "retro" camera and drive
up 2nd Super 8 camera prices. Should I hold onto my beautiful high end
Super 8 machines? Quietly ride this mini-film explosion? Or just keep
filming? :)

Film Forever.

Nicholas Kovats
Toronto
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Re: [Frameworks] New Kodak Super 8 movie camera

[Nicholas Kovats]

That desire is circulating widely on the internet.

On Friday, 8 January 2016, Beebe, Roger W. <beebe...@osu.edu> wrote:

> Now if they’d just reintroduce a color reversal stock…
>
> (Shot a little Wittnerchrome this summer, and it’s not a bad tool, but
> it’s not Kodachrome or even the final Ekta 64T…)
>
> R.
>
> On Jan 8, 2016, at 2:18 PM, Nicholas Kovats <nkov...@gmail.com
> <javascript:;>> wrote:
>
> > Yup.
> >
> > There is a brand new Super 8 camera introduced by Kodak and it is
> > projected to be available in fall 2016, i.e.
> >
> http://www.bloomberg.com/news/articles/2016-01-07/new-kodak-super-8-concept-camera-first-look-video
> >
> > Kodak saw the Logmar Super 8 camera back in Cinegears 2015 and a
> > prelimiary deal was made with the Danish father and son engineering
> > team to design both the hardware and software for the forthcoming
> > series of Kodak Super 8 camera systems.
> >
> > The original inspiration as per Kodak's interest, i.e.
> > http://www.logmar.dk/. The new Kodak Super 8 camers will share
> > attributes of the original Logmar S8 camera. I have the only one in
> > Canada. Kodak has now dropped any reference to the Logmar name on
> > their web site. It has been speculated that there is now an
> > "exclusivity agreement" in place. Kodak also contracted a famous
> > designer for the overall look, color and button shapes that is Yves
> > Béhar. He is the founder and principal designer of Fuseproject, i.e.
> > http://www.fuseproject.com/. Gotta have the new camera's power button
> > match Apple esthetic.
> >
> > Speculation and rumour are rife at the moment but the following
> > products and/or services have been announced as part of the new Kodak
> > eco-system initiative.
> >
> > 1. Dec 21/15 P-200 Film Cleaning System, i.e.
> >
> >
> http://www.kodak.com/ek/US/en/corp/Press_center/KODAK_Introduces_Innovative_Film_Cleaning_System/default.htm
> >
> > "The KODAK P-200 system consists of a compact machine that measures
> > only 31w x 21d x 51h inches with touchscreen controls for navigating
> > the operating modes. It uses KODAK HFE 7200 Film Cleaner Solution, an
> > environmentally safe solvent with a zero ozone depleting
> > classification, and a very low toxicity rating (near zero). Adding to
> > the system's efficiencies, Kodak is offering the solvent in low
> > quantities for the first time, eliminating the need to invest in large
> > orders of film cleaning supplies."
> >
> > 2. Jan. 06 - Logmar designed Super 8 Camera w/ Yves Béhar designer
> "accents" :)
> >
> > - high end will be metal construction at approx $1000 US (2000 units).
> > - lower end plastic model approx $499/$700 US.
> >
> > Some preliminary specifications, i.e.
> >
> http://www.newsshooter.com/2016/01/06/kodak-goes-back-to-the-future-and-announces-a-new-super-8-film-camera/
> >
> > FILM GAUGE
> > SUPER 8 ( EXTENDED MAX-8 GATE )
> >
> > FILM LOAD
> > KODAK CARTRIDGES WITH 50 FT (15 M)
> >
> > SPEED
> > VARIABLE SPEEDS (9, 12, 18, 24, 25 FPS) ALL WITH CRYSTAL SYNC
> >
> > LENS MOUNT
> > C-MOUNT
> >
> > FOCAL LENGTH
> > FIXED / 6 MM, 1:1.2 – RICOH LENS (OPTIONAL ZOOM 6-48 MM LENS )
> >
> > FOCUS / APERTURE
> > MANUAL FOCUS & IRIS
> >
> > VIEWFINDER
> > 3.5? DISPLAY THAT HAS A STANDARD DEFINITION VIDEO INPUT AND SUPPORTS
> > SWIVEL +/- 45 DEGREES
> >
> > EXPOSURE
> > EXPOSURE CONTROL
> > CARTRIDGE DETECTION (SPEED NOTCH)
> > BUILT-IN LIGHT METER FOR SUPPORTED SPEEDS OF ALL KODAK FILM TYPES
> > MANUAL SPEED / MANUAL IRIS SETTING
> >
> > POWER SUPPLY
> > BATTERY & CHARGER
> > INTEGRATED BATTERY AND CHARGER VIA STANDARD USB WALL ADAPTER
> >
> > CONTROL PANEL / SETTINGS
> > CONTROL PANEL VIA VIEWFINDER 3,5? TFT LCD
> >
> > SETTINGS
> > VIA JOG WHEEL AS USER INTERFACE
> >
> > 3. A new Kodak processing lab in New York.
> >
> > 4. One stop shop model whereby consumers can purchase film stock,
> > process and a digital scan (allegedly 4K) from Kodak. Customer's will
> > take delivery of said digital scan via the internet and Kodak will
> > ship the original S8 negative with a S8 print. That is not a typo and
> > we are are attempting to officially confirm the print delivery. Total
> > package price is rumoured to be $50-$75 US. Longtime Kodak small
> > format partner Pro8mm in California has been making inquiries
> > regarding purch

Re: [Frameworks] Fwd: New Kodak Super 8 movie camera

[Nicholas Kovats]

Logmar designed the new Kodak Super 8 camera hardware/software based
on their high end pin registered Logmar S8. No timecode. Some basic
file metadata for each sound file recorded. 24 bit internal digital
recorder can output mp3 or ogg vorbis. Crystal sync accurate to 0.001
fps. Upgradable firmware. I would recommend a clapper on set. Then
synchronize in digital editor whereby you slip audio track until you
nail sync visually with the filmed clapper.

Logmar is soliciting potential interest in a new digital servo
pin-registered Super 8 projector. Not Kodak. You can find the Logmar
S8 camera manual here, i.e.
https://www.dropbox.com/s/r8tchjjdelf6gmr/Preliminary-Digicanical-S8-UG.pdf?dl=0.
Check out Friedemann Wachsmuth's  2K scan of the Logmar S8 Camera and
Kodak Vision 3 50D Super 8 film, i.e. https://vimeo.com/129700087

I suspect the Kodak camera will not approach the pin registered
quality of the Logmar S8 but it's impending release has excellent
pedigree. Such is destiny that Kodak checked out the Logmar S8 at
Cinegear 2015. :)



On Fri, Jan 8, 2016 at 5:56 PM, Ed  Inman  wrote:
> Interesting that the camera has a microphone that presumably will be
> synchronized with the picture in the digital file.
> I'm just wondering how they will accomplish that.
> Will the camera print a time code on the film sort of like the DTS cinema
> system?
> Will there be new projectors that can project the actual film with the sound
> synchronized on a CD-ROM?
> That would really be something--especially if the track could be digitally
> edited, with music or effects added and still remain synchronized.
> I have a French-dubbed 35mm movie that I am able to play back in English
> using the DTS discs.
> I'd love to see something like that for 16mm as well.
> Ed
>
> -Original Message-
> From: Heikki Repo
> Sent: Jan 8, 2016 3:59 PM
> To: Experimental Film Discussion List
> Subject: Re: [Frameworks] Fwd: New Kodak Super 8 movie camera
>
> "Customer's will
>>
>> take delivery of said digital scan via the internet and Kodak will
>> ship the original S8 negative with a S8 print. That is not a typo and
>> we are are attempting to officially confirm the print delivery."
>
>
> Hi Nicholas,
>
> where was the S8 print mentioned? I have been trying to find some online
> source, but haven't found one yet.
>
> Super-8 prints are awesome :) I have shot my home movies on Kodak Vision
> films and made workprints of them @ Andec in Germany. If Kodak were to offer
> this service to everyone it could eventually lead to a renaissance of film
> prints.
>
> Heikki
>
>
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Re: [Frameworks] 16mm spools and cans

[Nicholas Kovats]

STil are excellent special archival poly "cans" that accommodate film
on cores but NOT film reels. They are smaller diameter.

On Sun, Sep 20, 2015 at 10:50 AM, Bill Seery  wrote:
> PEL in Norfolk distributes Stil cans. May be pricey since they're "archival" 
> but worth a shot.
>
> http://www.preservationequipment.com/Store/Products/Archival-Storage/Photographic-Storage/Polypropylene-Movie-Film-Cans
>
> Bill Seery
> b...@mercermedia.com
> 212.627.8070
>
>
>
>
>
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Re: [Frameworks] 35mm hand crank

[Nicholas Kovats]

Wonky, plastic, jamming transport. I have yet to crack the seal on my
boxed unit. Then again some of my friends jumped in when it debuted a
few years ago, i..e https://vimeo.com/38822722. Same aspect ratio as
my UltraPan8 format 2.8.

Dustin Rosemark actually shot a feature length film with this tiny
plastic beast called 51 Fragments of a Wandering Mind”, i.e.
http://www.51fragments.com/.

On Wed, Aug 5, 2015 at 10:18 PM, Steven ste...@gladstonefilms.com wrote:
 Saw this, I think it is two perf

 http://www.bhphotovideo.com/c/search?Ntt=LomoKinoN=0InitialSearch=yessts=maTop+Nav-Search=

 Lomography LomoKino 35mm Movie Camera with LomoKinoScope


 Just thought I would share.


 --
 Steven Gladstone
 New York Based Filmmaker
 917-886-5858
 http://www.gladstonefilms.com
 http://roadtodad.blogspot.com/
 http://indiekicker.reelgrok.com/
 http://www.blakehousemovie.com
 http://www.hellion.gladstonefilms.com


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Re: [Frameworks] Steenbeck with digital sound

[Nicholas Kovats]

Tremendous, Zack! Excellent work and presentation.

On Thu, Aug 6, 2015 at 9:28 AM, Zach Poff z...@zachpoff.com wrote:
 Hi folks. I recently had some experience modifying a Steenbeck flatbed for
 synchronization to Pro Tools. I wrote a guide about it on my website and
 figured I'd share with Frameworks:

 http://www.zachpoff.com/diy-resources/steenbeck-with-synced-digital-audio/

 Feel free to contact me with questions, corrections or suggestions. -Zach

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Re: [Frameworks] 35mm Cinema-Trike

[Nicholas Kovats]

Fantastic idea!

On Thu, Jul 23, 2015 at 10:00 PM, Roger D. Wilson
rogerdwil...@sympatico.ca wrote:
 On Friday July 24 at 7pm a new version of my Cinema-Trike will be revealed
 at Artist Centre DAÏMÔN in Gatineau Quebec. The installation is part of
 Gatineau's Ruisseau de la Brasserie celebration happening from July 24, to
 August 2, 2015 at La Filature building on 82 Hanson Street.

 Cinema-Trike is a human powered film projection system that was created by
 taking an adult 3-wheeled bicycle and a 35mm film projector and transforming
 them into a new age cinema experience.

 Imagine sitting on a bicycle and in front of you is the projection screen
 where you will view frame by frame film images that you control with your
 feet, speed the action up or slow it right down to one frame at a time. As
 you start to pedal, images begin to appear and soon you learn you are
 travelling along Ruisseau de la Brasserie (The Brewery Creek) in Gatineau
 Quebec. The river flows along as you pedal your bike and in the distance you
 see La Filature, this building once housed a textile mill but now it is the
 home for artists centers AXENÉO7 and DAÏMÕN. When you arrive at the old
 factory you decide to hop off your bike and explore the building and its
 occupants.


 Roger D. Wilson
 Film Scientist
 613 324 - 7504
 rogerdwil...@sympatico.ca


 http://www.rogerdwilson.ca
 http://www.windowscollective.ca/
 https://www.facebook.com/people/Roger-D-Wilson/1289926661
 https://twitter.com/rdwbleachedfilm


 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.

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Re: [Frameworks] Aaton A-Minima to buy

[Nicholas Kovats]

With the infamous A wind emulsion out setup developed in conjunction
with Kodak.

Will that A or B, Sir? :)

http://www.cinematography.com/index.php?showtopic=52190

On Thu, Apr 30, 2015 at 9:53 AM, Scott Dorsey klu...@panix.com wrote:
 this camera is allmost simular.

 Sadly, nothing is similar to the A-Minima.  It is a unique snowflake.
 --scott
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Re: [Frameworks] ORWO / AGFA / FUJI 16 MM Films

[Nicholas Kovats]

Great initiative, Steve!

Is the FUJI Eterna Color Negative  16mm 250D new old stock?




On Fri, Apr 24, 2015 at 1:30 PM, steve cossman stevecoss...@hotmail.com wrote:
 Frame-workers,

 Greetings from Brooklyn New York!

 I wanted to write on behalf of MONO NO AWARE to share an exciting
 announcement with you!

 To further our mission of affordable filmmaking education and accessibility
 of equipment/materials, the organization has launched a FILM DISTRIBUTION
 initiative.   We've been importing and making film stock available locally
 for the last 4 years by word of mouth, but will be branching out this summer
 to offer local purchasing by appointment from our home office in downtown
 Brooklyn (5 minute walk from Atlantic Ave  Hoyt Schermerhorn Subway lines:
 D,N,R,2,3,4,5,B,Q  A,C,G).  We'll also have film stock at all MONO NO AWARE
 special events and screenings, PLUS we'll be shipping orders within the
 continental U.S.!

 In an effort to support our initiative our partner of 4 years, ORWO North
 America, will be donating a percentage of all ORWO stock purchased this
 summer through MONO NO AWARE to our organization.  This will help support
 our educational initiatives, equipment rentals program, monthly screening
 series, and annual exhibition.  So, if you have plans to stock up on UN-54
 or N74 drop us a line and we'll have it in the mail for you promptly.  Help
 us help you!

 Please visit our website to learn more about this initiative and feel free
 to SHARE this with friends, colleagues and students.

 Current stocks available:

 ORWO UN-54 - B/W 16mm 100ASA
 100' daylight/can

 ORWO N74 - BW 16mm 400ASA
 100' daylight/can

 AGFA AVIPHOT Color Reversal 16mm 200D
 100' daylight/box

 FUJI Eterna Color Negative  16mm 250D
 400' can OR 100' daylight/box***

 Check back frequently as we continue to import and distribute additional
 stocks and formats.
 All contemporary stocks are new / sealed, all other stocks have been tested
 and lovingly spooled down by MONO NO AWARE.  ***See attached still from the
 MONO NO AWARE FUJI 250D test roll  Vimeo link here:
 https://vimeo.com/125928517

 Best to you all,

 Steve Cossman
 Founder / Director
 MONO NO AWARE


 ALSO - FULL SUMMER WORKSHOP OFFERINGS ARE NOW ONLINE -
 http://mononoawarefilm.com/workshops/
 • Intro to 16mm Filmmaking
 • Color Super-8mm Filmmaking
 • 3-D Puppet Animation on 16mm film
 • Underwater 16mm Filmmaking *NEW!*
 • Mattes  Multiple-Exposures: 16mm Techniques with Tomonari Nishikawa
 *VISITING ARTIST* **NEW**






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Re: [Frameworks] ORWO / AGFA / FUJI 16 MM Films

[Nicholas Kovats]

The Fuji color space is lovely!

On Fri, Apr 24, 2015 at 4:18 PM, steve cossman stevecoss...@hotmail.com wrote:
 Thank you for the kind words.

 Yes, the FUJI is a new old stock, which was donated to the org from a
 production company. It was in cold storage and 2 members of MONO NO AWARE
 shot this test footage: https://vimeo.com/125928517

 The test roll was processed and Telecine'd by CineLab, in MA.

 Thanks for your interest and support.

 Best,

 Steve Cossman
 Founder / Director
 MONO NO AWARE



 Date: Fri, 24 Apr 2015 15:09:12 -0400
 From: nkov...@gmail.com
 To: frameworks@jonasmekasfilms.com
 Subject: Re: [Frameworks] ORWO / AGFA / FUJI 16 MM Films

 Great initiative, Steve!

 Is the FUJI Eterna Color Negative 16mm 250D new old stock?




 On Fri, Apr 24, 2015 at 1:30 PM, steve cossman stevecoss...@hotmail.com
 wrote:
  Frame-workers,
 
  Greetings from Brooklyn New York!
 
  I wanted to write on behalf of MONO NO AWARE to share an exciting
  announcement with you!
 
  To further our mission of affordable filmmaking education and
  accessibility
  of equipment/materials, the organization has launched a FILM
  DISTRIBUTION
  initiative. We've been importing and making film stock available locally
  for the last 4 years by word of mouth, but will be branching out this
  summer
  to offer local purchasing by appointment from our home office in
  downtown
  Brooklyn (5 minute walk from Atlantic Ave  Hoyt Schermerhorn Subway
  lines:
  D,N,R,2,3,4,5,B,Q  A,C,G). We'll also have film stock at all MONO NO
  AWARE
  special events and screenings, PLUS we'll be shipping orders within the
  continental U.S.!
 
  In an effort to support our initiative our partner of 4 years, ORWO
  North
  America, will be donating a percentage of all ORWO stock purchased this
  summer through MONO NO AWARE to our organization. This will help support
  our educational initiatives, equipment rentals program, monthly
  screening
  series, and annual exhibition. So, if you have plans to stock up on
  UN-54
  or N74 drop us a line and we'll have it in the mail for you promptly.
  Help
  us help you!
 
  Please visit our website to learn more about this initiative and feel
  free
  to SHARE this with friends, colleagues and students.
 
  Current stocks available:
 
  ORWO UN-54 - B/W 16mm 100ASA
  100' daylight/can
 
  ORWO N74 - BW 16mm 400ASA
  100' daylight/can
 
  AGFA AVIPHOT Color Reversal 16mm 200D
  100' daylight/box
 
  FUJI Eterna Color Negative 16mm 250D
  400' can OR 100' daylight/box***
 
  Check back frequently as we continue to import and distribute additional
  stocks and formats.
  All contemporary stocks are new / sealed, all other stocks have been
  tested
  and lovingly spooled down by MONO NO AWARE. ***See attached still from
  the
  MONO NO AWARE FUJI 250D test roll  Vimeo link here:
  https://vimeo.com/125928517
 
  Best to you all,
 
  Steve Cossman
  Founder / Director
  MONO NO AWARE
 
 
  ALSO - FULL SUMMER WORKSHOP OFFERINGS ARE NOW ONLINE -
  http://mononoawarefilm.com/workshops/
  • Intro to 16mm Filmmaking
  • Color Super-8mm Filmmaking
  • 3-D Puppet Animation on 16mm film
  • Underwater 16mm Filmmaking *NEW!*
  • Mattes  Multiple-Exposures: 16mm Techniques with Tomonari Nishikawa
  *VISITING ARTIST* **NEW**
 
 
 
 
 
 
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Re: [Frameworks] analogue photo lab (ilfochrome)

[Nicholas Kovats]

The most update info is available on the still active Dye Transfer
Yahoo group, i.e. http://www.groups.yahoo.com/group/dyetransfer

On Tue, Apr 21, 2015 at 1:59 PM, Scott Dorsey klu...@panix.com wrote:
 You know what, I take that back!  There are some folks who are still making
 dye transfer prints.  Very expensive, but more stable and with a better
 color gamut than Ciba.

 CVI Labs in NY might still exist.
 dyetransfer.de seems to be gone now.
 www.dyetransfer.org has some directions on doing it yourself.
 --scott
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Re: [Frameworks] Complete Plant Liquidation of Deluxe Laboratories, Inc.’s. Hollywood Film Processing Facility. One of the World’s Largest Film Processing and Facilities

[Nicholas Kovats]

Indeed. But I should have read more carefully. The auction notice was from
last year. I wonder how it was parceled out?

On Monday, April 6, 2015, Nicky Hamlyn nicky.ham...@talktalk.net wrote:

 Ironic, considering the first thing Deluxe did after buying Soho Film Lab
 in London was to cease 16mm printing. That's what precipitated Tacita
 Dean's save film campaign. Nicky.


  Nicholas Kovats wrote 

 The auction title says it all. Over 1032 individual lots and starts on
 June 3. Sad to see, i.e.
 http://www.hgpauction.com/auctions/60587/deluxe/ The complete catalog,
 i.e. https://hgpauction.hibid.com/catalog/43298/deluxe-labs. My hope
 is that some of the remaining labs are able to raise sufficient
 capital to make use of some portion of this huge former operation.
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[Frameworks] Complete Plant Liquidation of Deluxe Laboratories, Inc.’s. Hollywood Film Processing Facility. One of the World’s Largest Film Processing and Facilities

[Nicholas Kovats]

The auction title says it all. Over 1032 individual lots and starts on
June 3. Sad to see, i.e.
http://www.hgpauction.com/auctions/60587/deluxe/ The complete catalog,
i.e. https://hgpauction.hibid.com/catalog/43298/deluxe-labs. My hope
is that some of the remaining labs are able to raise sufficient
capital to make use of some portion of this huge former operation.
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Re: [Frameworks] 35mm/16mm screening space

[Nicholas Kovats]

Great to hear that you and your 35mm theater exist, Christopher! I am
also from the Martimes originally and it's great to see indigenous
film based micro-cinema! Are you still shooting 35/16mm film and do
you have your own equipment? I will be in touch.

On Fri, Mar 20, 2015 at 3:59 AM, Christopher Ball cbifi...@gmail.com wrote:
 I want to introduce frameworks members to a rare 35mm / 16mm / Super 8mm /
 HD screening space in the East Coast of Canada.  I have a 25 seat theatre
 with Dolby digital surround for 35mm and HD with flat, scope and 1.33
 projection lenses and a platter or reel to reel transport system.  More
 details can be found at my website, www.cbifilms.com  click on of interest
 then Church Lake Cinemateque  The Cinemateque is located in rural Nova
 Scotia on a 60 acre property bordering a lake.  I also collect 35mm and 16mm
 prints.  I believe I am the 2nd last facility in Atlantic Canada that can
 still support 35mm projection, the other being the Vogue Cinema in Sackville
 NB.

 Christopher

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Re: [Frameworks] Super 8 to 35mm blowup?

[Nicholas Kovats]

Excellent report, Amanda! I have no objection to this type of taxation. :)

I suspect Klaus Linnenbruegger k...@canadianfilm.com built the
National Archive wet gates as per his work at the National Film
Archives of Canada in Ottawa and the Library of Congress in Dayton,
Ohio. He has a web site (KL Archival Film Equipment, i.e.
http://www.klarchivalfilmequipment.ca/, I believe he also resides in
the Ottawa area.

35mm = http://www.klarchivalfilmequipment.ca/Wetgates-Full.01.html
28mm = http://www.klarchivalfilmequipment.ca/Wetgates-Full.02.html
16mm =  http://www.klarchivalfilmequipment.ca/Wetgates-Full.03.html
16mm absent registration pins. For severe shrinkage =
http://www.klarchivalfilmequipment.ca/Wetgates-Full.04.html
9.5mm = http://www.klarchivalfilmequipment.ca/Wetgates-Full.06.html
R8/S8 = http://www.klarchivalfilmequipment.ca/Wetgates-Full.05.html

Lots of precious equipment and specialized adaptations. He was still
operational as of my 2009 email correspondence.

Nicholas


On Wed, Mar 18, 2015 at 9:45 AM, Jean-Louis Seguin bolext...@gmail.com wrote:
 Our glorious tax dollars at work!

 Jean-Louis

 Sent from my iPhone

 On Mar 18, 2015, at 8:25 AM, Amanda Christie ama...@amandadawnchristie.ca 
 wrote:

 I was just at the National Archives of Canada Preservation Centre this week, 
 and they have AMAZING optical blow up facilities.
 they have all the gates (not just regular 8, super8, 16mm, super 16mm, and 
 35mm, but also 9mm, 9.5 mm, and 28 mm). As well as a contact printer and 
 their own lab.

 Sadly, their facilities can't be accessed by the public, it's only for 
 working with their own archives and the collection... and double-plus sadly 
 there is not a lot of support for acquiring art or experimental films 
 hopefully that will change soon currently most of the films they acquire 
 are anything produced through Telefilm Canada or the Canadian Media Fund, 
 because there are infrastructures in place for all works made through those 
 programs to be automatically acquired by the National Archives... however, 
 there are currently no infrastructures in place or policies for regularly 
 acquiring independent or experimental films... they do have some... but it's 
 apparently, convincing them to acquire the works can be tricky.

 But at least those facilities exist!
 They also have a few rooms full of intercines (including one that was 
 modified to do 9mm and 28mm)... all of their gear is super clean and in 
 working order.


 Amanda Dawn Christie
 
 506-871-2062
 www.amandadawnchristie.ca
 ama...@amandadawnchristie.ca
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Re: [Frameworks] Jean-Louis Seguin retired?

[Nicholas Kovats]

Alain,

Just the Concordia side of life. :) He can still be reached at
bolext...@gmail.com.

Cheers,

Nicholas

On Fri, Feb 27, 2015 at 1:38 PM, 40 Frames i...@40frames.org wrote:

 Jean-Louis Seguin... did you retire from Bolex camera repair, or just from
 your position at Concordia?

 Best,
 Alain

 --
 40 FRAMES
 Portland, Oregon USA

 +1 503 231 6548
 www.40frames.org
 www.16mmdirectory.org


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[Frameworks] Fwd: New UltraPan8 film: IceBike 2014!

[Nicholas Kovats]

Five years in the making.

First I walked, then ran and finally put on my skates to chase
cyclists on ice with my Bolex Ultrapan8 film camera. The Ice Bike or
Icycle winter races have been a treasured Toronto staple in February
for over 14 years. The serious heats involve handmade studded tires
with a density of 500-800 studs per tire. The funnest part of the
evening involves the public non-studded event called The Rubber Race.

https://vimeo.com/119718851

Come on join us at Icycle 2015 next weekend if you happen to be in
Toronto! 7:00 pm Saturday on Febuary 21, i.e.
https://www.facebook.com/events/754435797964839/. Albert ice emperor
de Ciccio has kindly provided a how-to regarding the construction of
studded tires, i.e. https://www.youtube.com/watch?v=gpvTV3h2zI4.

metadata:
camera = Bolex UltraPan8 2.8 R8
camera_mod = Jean-Louis Seguin (bolext...@gmail.com)
film_stock = Kodak Vision 3 200T 7213, pushed 3x stops (800 asa), full
16mm width of Regular 8mm, color negative (acetate)
film_reperforation = Edward Nowill (edwardnow...@gmail.com)
frame_rate = 24fps
lens = Angenieux 5.9mm
tstop = T2/4
lab = Niagara Custom Labs (niagaracustomlab.com)
scan = bitworks.org
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[Frameworks] The Public Domain Project

[Nicholas Kovats]

http://www.pond5.com/free

“a comprehensive and ever-expanding collection of copyright-free
multimedia content that’s accessible for free search, free download
and free use. Our aim is to assemble the world’s greatest collection
of free public domain content tailored specifically for editors,
designers, musicians, and other media makers. We’ve searched
government and public archives around the globe, pulling together some
of the best examples of copyright-free footage, photography, sound
recordings, 3D models and more.”
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[Frameworks] The Italian film manufacturing firm, Ferrina, have started a Kickstarter campaign as of today

[Nicholas Kovats]

The Italian film manufacturing firm, Ferrania, have started a
Kickstarter campaign as of today to rescue Trixie (large scale
triacetate base production machinery), Walter (high volume chemical
synthesis lab) and Big Boy (industrial film coating facility).
$21,520 has been pledged of a $250,000 goal. The amount increased by
$3,759 by the time I finished formatting this news.

Their first limited release will be a re-engineered version of
ScotchChrome - a 100 ASA, daylight-balanced Color Reversal (chrome or
slide) film, developed by the Imation company in the late-1990s and
produced by Ferrania until 2003. We will package this film into four
formats, 135, 120, Super 8 and 16mm.

https://www.kickstarter.com/projects/filmferrania/100-more-years-of-analog-film
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[Frameworks] Would anyone happen to have a JK Optical 16mm printing module for sale?

[Nicholas Kovats]

Seeking this item on behalf of a friend's conversion project. Cheers!
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Re: [Frameworks] Solar Energy to Help Power Film Screenings at Cobble Hill Cinemas

[Nicholas Kovats]

That sounds unbelievably cool! Has it ever been to Toronto?

On Wed, Sep 3, 2014 at 1:48 PM, Roger Wilson rogerdwil...@sympatico.ca wrote:
 I have a cinema trike that powers a 16mm film projector and can run as long
 as you can keep your legs moving:). You can see more on my website
 www.rogerdwilson.ca


 Roger D. Wilson
 Film Scientist
 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: Wed, 3 Sep 2014 11:37:11 -0400
 From: elizmcma...@gmail.com
 To: frameworks@jonasmekasfilms.com
 Subject: [Frameworks] Solar Energy to Help Power Film Screenings at Cobble
 Hill Cinemas

 I think this is really terrific! Not necessarily innovative any longer in
 general, but this is a clever application and soon, one day, hopefully will
 be adopted as routine. http://tinyurl.com/kyauq5e

 --
 Elizabeth

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Re: [Frameworks] Solar Energy to Help Power Film Screenings at Cobble Hill Cinemas

[Nicholas Kovats]

Sad to hear. I believe Cinecycle here in Toronto has run a bike
powered projector in the past. I thought it might have been your
system.

On Wed, Sep 3, 2014 at 3:47 PM, Roger Wilson rogerdwil...@sympatico.ca wrote:
 No unfortunately Nicholas I've not had the cinema-trike in Toronto yet. I've
 submitted it to a few events in T.O. but still no go. I actually have a show
 tonight with the trike in Ottawa under the Plaza Bridge.

 Roger


 Roger D. Wilson
 Film Scientist
 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: Wed, 3 Sep 2014 15:01:59 -0400
 From: nkov...@gmail.com
 To: frameworks@jonasmekasfilms.com
 Subject: Re: [Frameworks] Solar Energy to Help Power Film Screenings at
 Cobble Hill Cinemas

 That sounds unbelievably cool! Has it ever been to Toronto?

 On Wed, Sep 3, 2014 at 1:48 PM, Roger Wilson rogerdwil...@sympatico.ca
 wrote:
  I have a cinema trike that powers a 16mm film projector and can run as
  long
  as you can keep your legs moving:). You can see more on my website
  www.rogerdwilson.ca
 
 
  Roger D. Wilson
  Film Scientist
  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: Wed, 3 Sep 2014 11:37:11 -0400
  From: elizmcma...@gmail.com
  To: frameworks@jonasmekasfilms.com
  Subject: [Frameworks] Solar Energy to Help Power Film Screenings at
  Cobble
  Hill Cinemas
 
  I think this is really terrific! Not necessarily innovative any longer
  in
  general, but this is a clever application and soon, one day, hopefully
  will
  be adopted as routine. http://tinyurl.com/kyauq5e
 
  --
  Elizabeth
 
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[Frameworks] All forty (40) Logmar Super 8 cameras have been pre-sold as part of the introductory beta program

[Nicholas Kovats]

All forty (40) Logmar Super 8 cameras have been pre-sold as part of
the introductory beta program. Split evenly between European and North
American markets. I am not surprised. I predicted as such.

http://www.logmar.dk/?p=323utm_source=rssutm_medium=rssutm_campaign=beta-program-is-completely-sold-out

Beta program is completely sold out!
Posted on August 23, 2014 by admin

We have just sold out our entire beta program.

Everyone who has come forward and got a spot in the program will
receive their purchase contract by Monday the 25th of August.

We are extremely excited with the prospect of delivering all these
cameras as soon as possible!

Thanks for your early support, we wouldn’t have been able to pull this
off without you.

Best regards

Tommy L. Madsen, CEO
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[Frameworks] Largest purchaser of Kodak 16mm film stock, NFL Films, has switched to digital production

[Nicholas Kovats]

Regrettably, NFL fims has decided to switch completely to digital
production and have purchased 30 new digital Arriflex Amira cameras.
Up until recently they were Kodak's largest customer of 16mm stock for
the last 50 years. They have their own immense state of the art
archive, and lab. Up until recently they were also processing film for
students. They have over 100 million feet of 16mm film in their
archives predominately shot with the legendary Photo-Sonics
Actionmaster 500 camera (24-500fps). I have yet to test mine,
http://www.highspeedfilm.de/16_am500.html

Here is the article from the New York Times, i.e.
http://www.nytimes.com/2014/08/14/sport ... .html?_r=1

Within the headquarters of NFL Films in Mount Laurel, N.J., resides
more than 100 million feet of film stored in tens of thousands of
metal canisters.
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Re: [Frameworks] Largest purchaser of Kodak 16mm film stock, NFL Films, has switched to digital production

[Nicholas Kovats]

There you 
go...http://www.nytimes.com/2014/08/14/sports/football/5-decades-later-nfl-films-goes-digital.html?_r=1

On Mon, Aug 25, 2014 at 3:11 PM, Adam Hyman a...@lafilmforum.org wrote:
 That link doesn't work for the NY Times article - it has holes...


 On 8/25/14 7:51 AM, Nicholas Kovats nkov...@gmail.com wrote:

 Regrettably, NFL fims has decided to switch completely to digital
 production
 and have purchased 30 new digital Arriflex Amira cameras.
 Up until recently
 they were Kodak's largest customer of 16mm stock for
 the last 50 years. They
 have their own immense state of the art
 archive, and lab. Up until recently
 they were also processing film for
 students. They have over 100 million feet
 of 16mm film in their
 archives predominately shot with the legendary
 Photo-Sonics
 Actionmaster 500 camera (24-500fps). I have yet to test
 mine,
 http://www.highspeedfilm.de/16_am500.html

 Here is the article from the
 New York Times, i.e.
 http://www.nytimes.com/2014/08/14/sport ...
 .html?_r=1

 Within the headquarters of NFL Films in Mount Laurel, N.J.,
 resides
 more than 100 million feet of film stored in tens of thousands
 of
 metal
 canisters.
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Re: [Frameworks] MovieStuff Retro 8 Film Scanner

[Nicholas Kovats]

Is that actually a serious question? Roger cannot keep up with demand. He
and the owners hangout on the Filmshooting forum. Very detailed threads.

On Wednesday, August 20, 2014, ben.weinst...@mindspring.com wrote:

 Actually I take that back; does anyone have one of these in america at all?

 -Original Message-
 From: ben.weinst...@mindspring.com
 javascript:_e(%7B%7D,'cvml','ben.weinst...@mindspring.com');
 Sent: Aug 20, 2014 5:46 PM
 To: Experimental Film Discussion List
 Subject: Re: [Frameworks] MovieStuff Retro 8 Film Scanner

 Anyone have one of these things in the NYC area?

 -Original Message-
 From: Alex Balkam
 Sent: Aug 20, 2014 9:57 AM
 To: frameworks@jonasmekasfilms.com
 javascript:_e(%7B%7D,'cvml','frameworks@jonasmekasfilms.com');
 Subject: [Frameworks] MovieStuff Retro 8 Film Scanner

 Hey Frameworks -

  Not sure if this product has been covered yet on the list. Figured I
 would see if anyone out there has experience (positive or negative) with
 this item:

  http://www.moviestuff.tv/
  http://www.moviestuff.tv/moviestuff_home.html

  The Moviestuff 'Retro 8' Film Scanner for Super 8 (there are also
 versions for 9.5 and 16).

  It looks cool... albeit the resolution seems to be potentially too low
 for some applications. I have found 720 to sometimes be a flattering
 resolution for Super 8 as it can roll off the grain a bit, but I don't
 think it is ideal for all applications. Personally I really want that
 grain. I do like the idea of having a coffee while this unit transfers my
 Super 8 film on my kitchen table in 4.5 mins though.

  What do we all think?


  Alex Balkam
  looker at pictures


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Re: [Frameworks] technical question about modifying the shutter operation of an EIKI 16mm film projector

[Nicholas Kovats]

Fascinating!

On Thursday, July 31, 2014, FCO. JAVIER HURTADO MOMPEO xhurt...@ub.edu
wrote:

  I would like to make the following technical consultation;


   My name is Xavi Hurtado working in independent video and

 with 16 mm ephemeral  latinamerican found footage film.


  I'm modifying a 16mm EIKI film projector with an engineer for working in
 alive film performance;

 my most important idea is to become independent the shutter operation
 placing a engin

 that  would  control the shutter operation with diferent speeds.

 But I don´t wan t simply to speed up or down the shutter

 (independently from the main engine operation, the one which which moves
 the film )


  I would like to change the time duration for black (obstruction of
 light) and the time duration to show the image.

 (I'm not sure if I'm explaining well or enough acurately  in English)


  My idea to get that; was to work with two independent shutters, drived
 by  two diferent motors.

 The black area of each shutter could be as a black half moon

 and the thing is that I would like to put both shutters in the same axis as

 I said driving them with diferent motors (step motors probably) .


  I think that way It could be controled  separately the speed of the
 shutter (of both shutters)

 from the amount of black obstruction of ligth and from the amount of light
 flow.


  Which could be achieve through more or less light; moving synchronously
 the two half moon shutters with separate two motors.


  At this point the engineer thinks that would be practically

 the same effect that to work with only one shutter (with tree slots) at
 diferent speeds


  Anybody can advise me?

 What do you think about that...

 there would be really an insignificant diference between one or two
 shutters?


  Or the posibilities of the idea  are a sufficient promise  to try to
 buid the two shutters ?


  On the other hand before I build a hardware and a software that controls
 the power intensity

 of the lamp and the speed of the main engine of another  EIKI 16mm
 projector depending on

 the frequency or the volumen of an input sound (also is posible to control
 those projector

 parameters from a graphic interface in the computer made with Max).. and
 it Works


  but now I also wants to control the shutter.

 Thanks

 Xavi Hurtado


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Re: [Frameworks] technical question about modifying the shutter operation of an EIKI 16mm film projector

[Nicholas Kovats]

Scott,

Did Kinoton ever implement this digital stepper design with their 16mm
line? It would fascinating to watch the live manipulation of shutter
phase if such a thing were possible. By that I mean varying the
shutter relative to motion on the screen. Applying  or decreasing
(removing?) motion blur so to speak.

On Thu, Jul 31, 2014 at 9:54 AM, Scott Dorsey klu...@panix.com wrote:
 I don't think it would be a matter of modifying it but completely
 redesigning it.

 You might want to look inside a Bolex camera to see an example of how a
 variable shutter works.  The Bolex has two sets of shutter leaves and a
 gadget that pulls them apart as a ring is moved forward and back on the
 shaft.  This works well, but it's not a thing you could easily fabricate
 into an existing projector.

 If I were doing it, I would toss the existing projector entirely and I
 would build an electronic projector from the bottom up along the lines of
 the Kinoton projectors.  The Kinoton has stepper motors driving the two
 sprockets and a stepper motor driving the shutter, and they are all
 controlled by a small microcontroller.  You could do something similar
 using an existing junk projector chassis and add a second shutter.  It
 would be fairly easy for software in the microcontroller to change the
 shutter phase.

 It would seem much easier to do this than to try and implement a variable
 pitch shutter entirely mechanically, and it would also make speed control
 a whole lot easier.
 --scott
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Re: [Frameworks] Bolex 16/super 16 conversion

[Nicholas Kovats]

David,

Douglas Palmer d...@filmisfine.co is a leading proponent and
practitioner of the Ultra16 format based in the UK. He has converted
Bolex 16mm cameras and a Bolex 16mm projector, e.g.

http://filmisfine.co/bolex-ultra-16-camera-sprocket/
http://filmisfine.co/an-ultra-16-projector/
http://filmisfine.co/ultra-16-projector-at-the-finish/
http://filmisfine.co/is-ultra-16-the-answer/

Cinelicious in California has a very rare Ultra16 gate implemented for
their URSA Diamond and Spirit Datacine. i.e.
http://cinelicious.tv/we-love-film/small-formats. They can output 4K
if you are so inclined.

Nicholas

On Tue, Jul 29, 2014 at 6:29 PM, Dave Tetzlaff djte...@gmail.com wrote:
 Does anyone have experience with, comments on Ultra 16mm which creates 
 wide-screen 16 by widening the gate to expose between the top and bottom of 
 the sprocket holes, thus:
 1. The mount does not need to be recentered.
 2. Pretty much any 16mm lens should cover.
 3. The footage can be used as regular 4x3-ish standard 16mm.

 I assume one issue would be finding a transfer service able to scan it to HD 
 or whatever, since blow-ups to 35mm no loner seem to be a thing, as 35mm no 
 longer seems to be a thing.
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Re: [Frameworks] Bolex 16/super 16 conversion

[Nicholas Kovats]

Contact Jean-Louis Seguin in Montreal for the Super 16 conversion,
i.e.  bolext...@gmail.com. Yes. The Bolex Bayonet mount is more
robust. Start researching the image circle of your lenses. Remember
the lens mount will have to be offset for the Super 16 format.
Jean-Louis can also collimate everything on his Bolex optical bench.

He has re-manufactured approximately 12-13 Bolex cameras for our
UltraPan8 format. He is very good, e.g. http://vimeo.com/92484795

On Tue, Jul 29, 2014 at 4:53 PM, Beebe, Roger W. beebe...@osu.edu wrote:
 Back to celluloid now after my brief foray into the digital world.  Does 
 anyone have recommendations for where to get a Bolex converted to super 16?  
 Also, I’ve got both an SBM and a REX 4—is there any reason to convert one 
 rather than the other?  Also (finally) how do I know (in advance) if my 
 lenses will cover super 16?

 Thanks, Frameworkers, for always knowing more than I seem to…
 Roger
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[Frameworks] Films made on 15/70mm

[Nicholas Kovats]

I am very interested. I actually have a handheld 14 perf 70mm camera I
would love to test out. Projecting 70mm would be awesome.

On Fri, Jul 25, 2014 at 4:12 PM, Ekrem Serdar ekremser...@gmail.com
javascript:; wrote:
 Hey Framers,

   I'm investigating a possibility where we may be able to do a screening
 with an IMAX film projector, and I guess I'm wondering if any of you folk
 have played around with the 15/70 (or know of films that are on it). As
 said, it's very tentative, and I'm sure there's only a small bunch of you
if
 any, but if you have, be in touch.

  (or if you just worked with regular 70mm and it would work sideways(!) -
I
 presume the film strip is otherwise the same, distance between perfs, etc?
 Not sure, feel free to correct me.)



 --
 ekrem serdar
 austin, tx

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Re: [Frameworks] Modern 16mm features, distributed on film

[Nicholas Kovats]

Great to hear of your progress, Amanda! Please say hi next time they
invite you back to Toronto!

Nicholas

On Fri, Jul 18, 2014 at 4:31 PM, Amanda Christie
ama...@amandadawnchristie.ca wrote:
 speaking of 16mm films having longer life than 35mm

 i had been hoping to finish my latest project, Spectres of Shortwave, on
 35mm... it's a 2 hour long landscape film of radio towers... but given that
 i knew it would be at least 2 years in the filming process (as they were
 tearing down the radio towers and i couldn't rush them, and i wanted all 4
 seasons)... and it was right when a lot of labs were closing their 35mm labs
 and theatres were getting rid of projectors... even though i didn't care
 about commercial theatres,  i was still worried that if i pursued a 35mm
 finish, that by the time i was ready to finish, that 35mm sound options
 would have dissappeared, and i would be screwed over by the sound aspect,
 and have to scan it all and finish digitally anyway... on a tight budget i
 couldn't afford risking the expense of workprint AND a scan if 35mm sound
 went bust, so i decided to scan everything 2k and finish to DCP... le
 sigh I'm at that stage right now... logging and editing... dealing with
 proxies, codecs, etc. etc while my 35mm intercine sites alone, unused
 and bereft.

 i will get this one done...
 somehow...

 but i swear... dammit! that my next one will be finished on a print... i
 bought a 35mm camera while making this one (with everything that was
 happening so fast in 2011 and 2012 in the industry, and with a project that
 would involve 2 years of filming... it was cheaper for me to buy than rent,
 and cameras were going dirt cheap) so i own an arri 35mm bl 4...  and my
 next film will finish to film... and it will be projected... well...
 wherever there is a 35mm projector.

 (this is the voice of one frustrated with codecs and proxies)

 16mm too... i want some more of that.

 xoadc



 On 2014-07-18, at 4:17 PM, John Woods wrote:

 Thanks for the many replies! I'm primarily interested in films produced in
 the 2010s. 45+ minutes in length, with an actual 16mm print struck.

 With the end of 35mm distribution in the past year, I've been wondering
 about how much longer 16mm prints will stick around. James Benning
 complained about the poor state of 16mm projection when he finished his last
 16mm feature, RR, in 2007 and switched to video.

 With the abundance of compact projectors, it looks like 16mm prints will
 have a slightly longer life than 35mm, at least as an artist's medium. There
 is still a surprising amount of shorts being produced, but a 16mm feature
 seems like quite a passion project and its looking like Differently,
 Molussia is the most recent feature.

 John

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[Frameworks] Eiki 16mm projector with 20 minutes film looper

[Nicholas Kovats]

You don't often see these babies on Da Bay, i.e.
http://www.ebay.com/itm/Eiki-16mm-projector-with-20-minutes-film-looper-/171385897321?pt=US_Movie_Slide_Projectorshash=item27e7654169
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[Frameworks] Fwd: New 16mm test footage - dance 1

[Nicholas Kovats]

This is edited test footage featuring dancer, Jillain Peever and the
musical group The Visit comprised of Raphael Weinroth-Browne (cello)
and Heather Sita Black (voice). It is the first stage of a larger
collaborative work to be shot on film.

https://vimeo.com/98244359

metadata:
camera = Bolex Standard 16mm
lens = 10mm Zeiss-Jena Tevidon APO
lens_exposure = T5.6
lens_filter = variable ND
frame_rate = 48
film = Kodak Vision3 color negative 250D (exposure = 250 ASA)
film = Kodak Double-X b/w negative (exposure = 200 ASA)
lab = Niagara Custom
scan = John Gledhill bitworks.org
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Re: [Frameworks] Infrared Film in Experimental Cinema

[Nicholas Kovats]

Ryan,

An outstanding current example is filmmaker/photographer Richard
Mosse's film called The Enclave shot on 16mm Kodak Aerochrome color
infra-red film from the war ravaged Eastern Congo. Shot on the last
Super 16mm camera manufactured, the Arriflex 416, i.e.

http://nofilmschool.com/2013/06/infrared-cinematography-documentary-the-enclave/
http://www.richardmosse.com/works/the-enclave/

Richard Mosse's infrared 16mm supplier is a German gentleman named
Dean (http://www.tarquinius.de/). As of Feb. 28, 2014 he is still
selling his 400ft rolls of 16mm Aerochrome from 2011 at $800 US a pop.
Check out my correspondence from last fall.

Cheers,

Nicholas

-- Forwarded message --
From: 120 aerochrome aerochr...@live.de
Date: Mon, Sep 9, 2013 at 1:58 AM
Subject: RE: Regarding 16mm Aerochrome film.
To: nkov...@gmail.com


Hi,
No i bought it Form a large production that had left over stock.

Dean
Www.bennici.Net

 Date: Sun, 8 Sep 2013 20:28:18 -0400
 Subject: Regarding 16mm Aerochrome film.
 From: nkov...@gmail.com
 To: aerochr...@live.de

 Hi,

 It is with great interest that I came upon your web site regarding
 16mm Aerochrome motion picture film as per Richard Mosse's incredible
 documentary. Did you manually cut and reperf from a larger batch
 (2011)? i.e. http://www.tarquinius.de/index.html

 Regards,

 Nicholas Kovats
 Toronto, Canada

On Thu, May 1, 2014 at 11:46 AM, Ryan Marino ryandmar...@gmail.com wrote:
 Not to change topics but does anyone know if infrared film is available in
 16mm?


 thanks,
 ryan


 On Thu, May 1, 2014 at 11:42 AM, Gene Youngblood ato...@comcast.net wrote:

 The opening of Mikael Kalatozov’s “I Am Cuba” (1964). It’s a narrative
 feature, but the camera moves are as experimental as it gets, pre-digital.

 It isn’t film and it isn’t infrared, but Bill Viola’s “The Passing” (1991)
 has night vision scenes that look infrared (only better), especially in the
 Joshua Tree sequence.

 From: Heath Iverson
 Sent: Thursday, May 01, 2014 9:06 AM
 To: Experimental Film Discussion List
 Subject: [Frameworks] Infrared Film in Experimental Cinema

 Hi Frameworkers,

 I've been trying to think of films made using infrared sensitive film
 stock, especially color stocks like Kodak's Aerochrome III. At the moment,
 the only examples I can think of are Richard Mosse's The Enclave (2013) and
 a section from Oliver Stone's Alexander. Surely there must be more?

 Best,
 Heath

 --
 Heath Iverson
 PhD Student, Film Studies
 University of St Andrews
 99 North Street
 St. Andrews, KY16 9AD
 Scotland, UK


 
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 --
 www.ryanmarino.com
 www.imminentfrequencies.com

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[Frameworks] Niagara Custom Labs in Toronto has a new website and a new address!

[Nicholas Kovats]

Yahoo! 35/16/8mm processing. New and old film stock. Film out service.
http://www.niagaracustomlab.com/

A treasured resource here in Toronto, Canada!
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Re: [Frameworks] Fomapan

[Nicholas Kovats]

Confirmed. They recently developed a roll of Fomapan R8 for me.

On Fri, Mar 28, 2014 at 8:15 AM, Pablo Marin pamari...@yahoo.com wrote:
 Niagara Custom Lab (Toronto)?


 On Friday, March 28, 2014 9:01 AM, Steven ste...@gladstonefilms.com wrote:
 Does anyone know of any labs that currently process Fomapan in Regular 8?

 Thanks

 --
 Steven Gladstone
 New York Based Filmmaker
 917-886-5858
 http://www.gladstonefilms.com
 http://roadtodad.blogspot.com/
 http://indiekicker.reelgrok.com/
 http://www.blakehousemovie.com
 http://www.hellion.gladstonefilms.com

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[Frameworks] The Super 8 film format is back with a vengence!

[Nicholas Kovats]

The Super 8 film format is back with a vengence!

Fantastic new Super 8 test film footage shot by German filmmaker
Friedemann Wachsmuth with the first new Super 8 camera in 30+ years !

Unbelievably sharp registration for such a tiny medium. I kept staring
at the corners seeking weave. I believe the previous benchmark set by
the 40+ year old Leicina Special with the same Schneider 6-66mm zoom
lens has been surpassed. Bravo to the Danish team of Lasse Roedtnesand
and his dad for a very impressive implementation and engineered
transport.

Kodak V3 50D color negative, 2K scan, Logmar S8 camera, Schneider
6-66mm zoom (C-Mount). Apprently there was some minor post processing
by Friedemann as per his comment on Vimeo.

https://vimeo.com/87243287

Logmar Camera Solutions: http://www.logmar.dk/
scan: Perry/GammaRayDigital and the LaserGraphics ScanStation (2K):
http://www.gammaraydigital.com/

-

OFFICIAL ANNOUNCEMENT BY LOGMAR

http://www.cinematography.com/index.php?showtopic=62603

Posted Today, 04:36 AM

Hi there!

This morning I received some awesome footage from Friedemann, who has
been out filming with our original prototype camera. I think it's
worth sharing even though the camera used, is not the final production
model which we are still waiting for our subcontractors to deliver
parts for.

The footage has been 2K scanned by the good folks over at
GammaRayDigital in Boston.

Head over to our webpage at www.Logmar.dk and visit our sample video
section to have a look, but please bring your comments back here for
everyone to view and enjoy!

we would like to thank the following people for their support:

The users of Cinematography.com and Filmshooting.com for their endless
amount of good ideas and valuable feedback
Friedemann Wachsmuth for writing the great article at Filmkorn.org,
and volunteering as a beta tester.
Perry Paolantonio from GammaRayDigital for providing us with sponsored
2K scanning.
Jürgen Lossau for writing the inspirational Super8 books as well as an
article about our camera.

As well as all the people out there who has shared our story on
Facebook, twitter and other social medias!

Best regards
The Logmar Team
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[Frameworks] 8fest 2014 documentation now online

[Nicholas Kovats]

Hi Folks,

Here is my documenation of the recent 8fest's program called Bagerooo,
seven! Volume two featuring the world analog premiere of James
Gillespie's UltraPan8 film Trains About, i.e. vimeo.com/86674824

Interestingly enough a recent blog called This Analog Earth reviewed
the wonderful 8fest but failed to mention this program and what was
probably one of the highlights of the festival. Paul Clipson's film Other
States  was transcendental and stunning .

This tiny special film format was well represented by very
vibrant works. It was also wonderful to see Jame Gillespie's hand
processed and tinted UltrPan8 work projected at a distance of 44 feet
and with a 12 foot wide image. Excellent filmmaking all around.

8fest festival: the8fest.com/
Blog review: thisanalogearth.com/2014/02/01/the-8-fest/

Nicholas
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[Frameworks] Video documentation of 8Fest 2014

[Nicholas Kovats]

Here is my recording of the recent 8fest's program called Bagerooo,
seven! Volume two featuring the world analog premiere of James
Gillespie's UltraPan8 film Trains About, i.e. vimeo.com/86674824

Interestingly enough a recent blog called This Analog Earth reviewed
the wonderful 8fest but failed to mention this program and what was
probably one of the highlights of the festival. I was also quite taken
with Paul Clipson's transcendental stunning piece called Other
States. This tiny special film format was well represented by very
vibrant works. It was also wonderful to see Jame Gillespie's hand
processed and tinted UltrPan8 work projected at a distance of 44 feet
and with a 12 foot wide image. Excellent filmmaking all around.

8fest festival: the8fest.com/
Blog review: thisanalogearth.com/2014/02/01/the-8-fest/

Nicholas
Toronto
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Re: [Frameworks] LOW Just Make It Stop - Chromoflex UltraPan8 - unofficial

[Nicholas Kovats]

Thank you, Briana. A labour of love.

On Wed, Jan 22, 2014 at 2:06 PM, Briana Broadnax
brianabroadn...@gmail.com wrote:
 Wow Nicholas this is great. It reminds me a bit of Stan Brakhage which is so 
 awesome! Love the film strips and how you used the 16mm.

 -Briana


  On Jan 22, 2014, at 12:31 PM, Nicholas Kovats nkov...@gmail.com wrote:

 Here is my unofficial short film of one of my favorite bands, Low. The
 song is called Just Make It Stop from their 2013 album The
 Invisible Way. Filmed in Chromoflex UltraPan8 2.8.

 No digital effects were used.

 I shot specially perforated Kodak V3 200D color negative (UltraPan8
 2.8 R8) pushed one stop (400 ASA). An internegative 16mm print (50D)
 was struck but not processed. The single perf 16mm print was then
 hand processed using Richard Touey's Chromoflex technique. I applied
 random tape shapes and then immersed the 16mm film in three different
 combinations of developers, fixes, baths, etc specific to color
 negative, color reversal or b/w reversal film processing.

 https://vimeo.com/84740721

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[Frameworks] LOW Just Make It Stop - Chromoflex UltraPan8 - unofficial

[Nicholas Kovats]

Here is my unofficial short film of one of my favorite bands, Low. The
song is called Just Make It Stop from their 2013 album The
Invisible Way. Filmed in Chromoflex UltraPan8 2.8.

No digital effects were used.

I shot specially perforated Kodak V3 200D color negative (UltraPan8
2.8 R8) pushed one stop (400 ASA). An internegative 16mm print (50D)
was struck but not processed. The single perf 16mm print was then
hand processed using Richard Touey's Chromoflex technique. I applied
random tape shapes and then immersed the 16mm film in three different
combinations of developers, fixes, baths, etc specific to color
negative, color reversal or b/w reversal film processing.

https://vimeo.com/84740721
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Re: [Frameworks] Vertical Cinema announcement

[Nicholas Kovats]

Sounds fantastic!

On Fri, Dec 20, 2013 at 6:57 AM, Gideon Kiers d...@telcosystems.net wrote:
 Dear List,

 We're very proud to announce a new Sonic Acts project that will have it's 
 international premiere at the upcoming International Film Festival Rotterdam 
 2014.

 Vertical Cinema is a series of ten newly commissioned large-scale, 
 site-specific works by internationally renowned experimental filmmakers and 
 audiovisual artists, which will be presented on 35 mm celluloid and projected 
 vertically with a custom-built projector in vertical cinemascope.

 It is a 90-minute programme, made solely for vertical projection on a 
 monumental screen and features works by Tina Frank (AT), Björn Kämmerer 
 (DE/AT), Manuel Knapp (AT), Johann Lurf (AT), Joost Rekveld (NL), Rosa 
 Menkman (NL), Billy Roisz (AT)  Dieter Kovačič (AT), Makino Takashi (JP)  
 Telcosystems (NL), Esther Urlus (NL), Martijn van Boven (NL)  Gert-Jan Prins 
 (NL).

 The screening will be accompanied by a lecture by Professor Erkki Huhtamo, 
 live performances and a workshop in cooperation with Piet Zwart Institute and 
 Filmwerkplaats Rotterdam.

 For more background information, pictures, short outtakes and interviews with 
 the filmmakers, please visit

 http://www.verticalcinema.org/

 ---

 Vertical Cinema at IFFR 2014
 Date: 24 January 2014
 Time: 19h45
 Location: Arminius, Museumpark 3, Rotterdam, The Netherlands

 The ticket sales for the international premiere of Vertical Cinema on 24 
 January 2014 at the International Film Festival Rotterdam has started. Get 
 your tickets here: bit.ly/1cY31W0

 ---

 Hope to see you all there !

 ( - Only one screening and limited amount of seats available, so make your 
 reservations soon ! - )

 Gideon
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[Frameworks] Stuart Warriner's historical widescreen Pan-16 film format

[Nicholas Kovats]

Introducing a rare scan of Stuart Warriner's (UK) amazing widescreen
Pan-16 film format from the late 1960's based on the Bolex camera
system. This historical 32 year old Kodachrome II footage was shot by
Tony Shapps whilst on vacation with his family in Portugal. Both
gentleman were instrumental and active in the historic UK Widescreen
Association.

Stuart's engineering is remarkable. The frameline and perforations are
absolutely steady. What Stuart accomplished was very difficult from an
camera engineering perspective. He modified the 16mm gate to replicate
the 1/2 pulldown cycle of 8mm using standard single perf 16mm film
stock.The universality of his approach was nothing short of brilliant
considering the availability of single perf standard 16m film stock
globally.

In effect his camera's film transport created two 8mm intermittent
pulldowns per single perf 16mm frame height! Two 8mm cycles in the
same interval as one complete standard 16mm pulldown cycle. An
excellent overview of his efforts are detailed in Guy Edmonds academic
paper Amateur widescreen; or, some forgotten skirmishes in the battle
of the gauges, i.e.
academic.csuohio.edu/kneuendorf/frames/PS/Edmonds07.pdf

Guy Edmonds's paper states Pan-16 was designed with an aspect ratio of
1:2.87. However, I calculated a usable aspect ratio closer to the
classicCinemascope format in the range of 1:2.5. This is positioned
between Emel's Pan-8 format (1:2.2) and UltraPan8 2.8 (1:2.. Note that
both formats utilize double perf 8mm film stock as opposed to Pan-16's
more common standard 16mm film. Stuart originally modified a Siemens
16mm camera but later settled on the Bolex as his conversion of
choice. He also modified Specto 500 projectors for Pan-16 and
engineered an associated Variable Pitch Compensator (VPC) for these UK
manufactured machines. Regrettably, Stuart's engineering notes no
longer exist.

The cropped 1:2.5 scan is available for viewing here,
i.e.https://vimeo.com/81976714

The full overscan with visible perforartions and frameline are
available here, i.e. https://vimeo.com/81960081

I am indebted to Tony Shapps for providing this invaluable film record
of small format ultra widescreen history.

Cheers!

Nicholas Kovats
Toronto, Canada
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[Frameworks] The UltraPan8 2.8 projector project

[Nicholas Kovats]

Toronto filmmaker, James Gillespie, treated me to his wonderful work
in progress - a very special modified 1950's Specto all metal
projector specifically for the ultrawide UltraPan8 film format. Extra
rollers, modified step down transformer, brighter 300w halogen bulb
and blue LED fans! 8fest is in for a treat next year (Jan, 2014).

Photos - http://www.flickr.com/photos/90929958@N00/sets/72157638461090136/
8Fest -   http://www.the8fest.com/

Cheers!

Nicholas
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[Frameworks] New Norwegian Super 8 camera to debut in 2014

[Nicholas Kovats]

A newly engineered Super 8 camera is set to debut in the spring of
2014. You read correctly. The first one in approximately 32 years.
Developed by a Norwegian team represented by Lasse Roedtnes who has
been posting updates with pictures on the cinematography forum.
Metal/carbonate body with C-Mount and a manual threading path! In fact
we initially thought they had copied the famous innards of the
legendary Mekel Engineering SP-1 Super 8 camera. No optical
viewfinder. Electronic only. Onboard digital audio recorder. Firmware
upgrades.

They will be soon launching a pre-order for the first ten cameras on
Indegogo. Anticipated price is 2,695$ USD. We suspect that the first
batch will be snapped up quickly by rental houses.

Analog film keeps punching holes in the digital religion.

Here is Lasse's latest post with a picture of the prototype, i.e.
http://www.cinematography.com/index.php?showtopic=60409page=15. I
have compiled an album with 8x photos of the prototype on my public
UltraPan8 Facebook page, i.e.
https://www.facebook.com/UltraPan8WidescreenFilm
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Re: [Frameworks] test footage of negative vs reversal s-8mm film stock

[Nicholas Kovats]

I think you meant to say Leica-M Bayonet Mount which has a slightly
larger FFD than the classic C-Mount, i.e (27.80 mm vs 17.53 mm). Using
larger format lenses on your camera is actually not a bad idea. This
technique utilizes the sweet part of the lens - the optical center
with reduced aberrations irrespective of the corresponding
magnification effect.

Indeed,  one the lightest handheld ultrawide spherical hybrid film
cameras out there.

I have been tracking the development on and off since it's inception.
It is not an official Bolex product but an approved relationship
with it's developers regarding permission to utilize the Bolex brand
name.  Bolex Switzerland has confirmed this.

I believe the two leads are based in Canada. Their C-mount lens
prototypes are interesting, i.e. no iris or focus barrels (fixed) -
http://www.digitalbolex.com/kish-prototype-lenses/

I see it as an other attempt to digitally replicate predominately
analog phenomenon. Why not use a film camera? :)

Cheers!

On Wed, Nov 6, 2013 at 9:00 AM, Marco Poloni mar.pol...@gmail.com wrote:
 Hello Nicholas,

 (I prefer to cc frameworks rather than not, hoping that this
 discussion is interesting to everybody).

 Indeed the best way to use the Leicina seems to be to have two lenses,
 the Optivaron zoom and the Cinegon. I have looked for quite a while
 for a 6 to 7mm prime lens that could be mounted onto the Leicina,
 because it uses the Leitz C-mount which means that it can, in theory,
 receive any Leitz lens. The problem was invariably the focal length.
 One would need a super-wide angle lens for SLR photography, to have a
 normal field of vision for Super-8mm. This means, in theory, lots of
 aberrations, but the fact is that to my knowledge no such lens exists.

 Thanks for your explanations. All clear now. I think that one of the
 beauties of your UP8 3.1 DS8 specification is that it runs through
 Bolex cameras, which are so reliable and small as we know. So the
 “ratio” so to speak between the format and your camera's weight is
 pretty amazing. In my memory the Arri ST is quite bigger than the
 Bolex H16, and the Krasnogorsk, which I've handled but never owned,
 isn't probably as versatile as the Bolex.

 By the way, on another thread, have you read that Bolex is preparing
 to launch a Digital Bolex camera, the D16, produced with two
 developers from L.A.? I am not ideologically opposed to digital, I am
 just waiting to see footage that I fall in love with. This hasn't
 happened yet... but the material I've seen online (Vimeo and youtube)
 is pretty good, with a deep colour space. The camera produces a 2K
 image in “S-16mm” mode, at 12 bit 4:4:4 colour depth, in Adobe
 CinemaDNG mode.

 Very best,
 Marco

 On 5 November 2013 18:26, Nicholas Kovats nkov...@gmail.com wrote:
 Hi Marco,

 My pleasure.

 I agree. The 10mm Leitz-Schneider Cinegon focusing barrel does not
 have the smoothest transition from macro to infinity. It is an
 ambitious design with a very wide focal range, And technically it
 might be better to segment both functions with two separate dedicated
 lenses, i.e. macro + wide/normal/telephoto.

 The UP8 3.1 DS8 gate is larger by 39% then the the UP8 2.8 R8 gate.
 The UP8 3.1 DS8 frame width is greater than Super 16. :) Here are the
 detailed specs, i.e.
 http://www.cinematography.com/index.php?showtopic=57048

 Yes, the full 16mm width of Double Super 8 or Regular 8 film is
 exposed with either the classic Super 8 or Regular 8 pulldown. Note
 that the Regular 8 pulldown is exactly half the pulldown height of
 Standard 16mm.

 NO standard Regular 8 slitting of the film, please! It would slice
 your ultrawide images exactly in half. These are standard Bolex single
 claw pulldowns which rely on the Bolex pressure plate for stability.
 Double pulldown claws are quite rare in 16mm cameras with the
 exception of  exotic high speed instrumentation cameras such as the
 Photo-Sonics Actionmaster 500fps camera, i.e double pulldown claws in
 conjunction with two perf 16mm film stock (now rare) and two
 registration pins at the film gate in the resting position. I have
 this camera and I did consider converting the 16mm pulldown to regular
 8. But it would have been prohibitively expensive.

 This conversion would work as 2 perf R8 and 16mm share identical
 perforation dimensions. Which is another key UltraPan8 2.8 concept. It
 was key knowledge gained when I discovered that both Bolex H16 and H8
 camera systems shared similar transports, optcs, mechanics, etc. I
 plan to run Regular 8 film in this camera to prove my point.

 In fact 2 perf Regular 8 IS technically 16mm film! But with 160
 perforations per foot compared to 16mm's 80 perforations per foot.
 Regular/Standard/Normal 8mm and Standard 16mm film are very beautiful
 interchangeable and intimate twins. :)

 Best regards,

 Nicholas

 On Tue, Nov 5, 2013 at 12:41 AM, Marco Poloni mar.pol...@gmail.com wrote:
 Hello Nicolas,

 Thanks for sharing your footage. I have never

[Frameworks] The $3, 000 open source multi-format 8/16/35 scanner project called Kinograph

[Nicholas Kovats]

This is an amazing open source scanner project by  Maththew Epler.
Watch the presentation video here, i.e. http://mepler.com/Kinograph
Here is his thesis presentation where he details his work and amazing
antedote whereby the King of Jordan injects $10K in startup funds due
to the discovery of historical 35mm film of his predecessor, his
father, i.e. https://vimeo.com/66766340#
The official Kinograph web site, i.e. http://kinograph.cc/
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[Frameworks] Stephen Broomer's new UltraPan8 3.1 film work titled Ravine.

[Nicholas Kovats]

Hi Folks,

Local Toronto experimental filmmaker, Stephen Broomer, has completed a
new ultrawide film work titled Ravine. Stephen utilized a variation
of UltraPan8 2.8 which utilizes the full 16mm width of Double Super 8
film stock with Super 8 pulldown resulting in an aspect ratio of 3.1,
i.e.

https://vimeo.com/69339484#at=0

Ravine (2013)

In Toronto's Nordheimer Ravine, an environment of thick brush and dead
wood flattens into fields of colour. Its paths lead to Winston
Churchill Park, where the entrance to a city reservoir overlooks a
green vale.
This film was made in the UltraPan8 format. It was composed using a
3.1:1 widescreen frame. The film was processed at Niagara Custom Lab.
The resulting footage was digitized by John Gledhill of Bit Works Inc.
The camera, modified by Jean-Louis Seguin, was provided by Nicholas
Kovats. Post-production was completed at the Liaison of Independent
Filmmakers of Toronto.

niagaracustomlab.com/
lift.ca/
bitworks.org/
facebook.com/UltraPan8WidescreenFilm
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[Frameworks] Stephen Brommer's new silent experimental UltraPan8 work Blue Guitar

[Nicholas Kovats]

Hello everyone,

I am pleased to announce Stephen Brommer's new silent experimental
UltraPan8 work called Blue Guitar. A beautiful abstract study shot
locally here in Toronto, i.e. http://tinyurl.com/kh7anyz  Ektachrome
100D Processing by Niagara Custom Labs with scan by bitworks.org.

Nicholas
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Re: [Frameworks] Stephen Broomer's new silent experimental UltraPan8 work Blue Guitar

[Nicholas Kovats]

My apologies to Stephen Broomer regarding my misspelling of his last name.

Nicholas

 Original message 
Subject: [Frameworks] Stephen Broomer's new silent experimental UltraPan8
work Blue Guitar
From: Nicholas Kovats nkov...@gmail.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
CC: [Frameworks] Stephen Broomer's new silent experimental UltraPan8
work Blue Guitar


Hello everyone,

I am pleased to announce Stephen Broomer's new silent experimental
UltraPan8 work called Blue Guitar. A beautiful abstract study shot
locally here in Toronto, i.e. http://tinyurl.com/kh7anyz  Ektachrome
100D Processing by Niagara Custom Labs with scan by bitworks.org.

Nicholas
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Re: [Frameworks] Final orders of Ektachrome.

[Nicholas Kovats]

Zach,

What format are you seeking re: E100D?  R8, S8. 16mm, etc.

Nicholas

Sent from my iPhone

On 2013-01-10, at 2:26 PM, Royce Marcus (Film) roycemarcusfi...@gmail.com
wrote:

From what I understood, when the sent out that press release, they were
already done making ektachrome.  It was just whatever they had left they
were going to sell.  I may be wrong though.  It was sort of a mad dash
after that.

Royce

On Thu, Jan 10, 2013 at 1:43 PM, zach vonjoo zu...@yahoo.com wrote:

 Hello Filmmakers--

 I was still getting my resources together for a large order when I found
 Kodak had stopped taking orders for Ektachrome a couple of weeks ago, a
 little sooner than I had anticipated.

 Does anyone know the status of Kodak's final batch of Ektachrome?  How
 much are they making, when will it be shipped out, etc.

 I called Kodak and they couldn't answer my questions, but maybe that was
 just whoever I spoke with on the phone...

 Happy New Year,

 Zach

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-- 
Royce Marcus
919-616-5425
roycemarcusfi...@gmail.com
https://twitter.com/RoyceMarcusFilm
http://www.behance.net/RoyceMarcusFilms (password for video is preview
without quotations)

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Re: [Frameworks] Large scale UltraPan8 2.8 3.1 installation at the University of Szeged - Szeged, Hungary.

[Nicholas Kovats]

Thanks, Royce. There is more to come.
On Jan 7, 2013 3:52 PM, Royce Marcus (Film) roycemarcusfi...@gmail.com
wrote:

 Great work!  I discovered UP8 only a few weeks ago and have been stunned
 by the product  I think it holds a lot of promise for future small gauge
 enthusiasts.

 Royce

 On Mon, Jan 7, 2013 at 2:02 PM, Nicholas Kovats nkov...@gmail.com wrote:

 Several of my recent UltraPan8 films premiered at the recent 11th
 International Super 8mm Festival this past September, 2012 in
 beautiful Szeged, Hungary. One of the organizers, Péter Rózsa,
 recently requested UltraPan8 frameshots to be projected onto a
 classroom wall at the University of Szeged in a newly minted public
 institution called Szent-Györgyi Albert Agora.The scale of these
 digital projections are stunning! A big thank you to Péter Rózsa!

 http://www.flickr.com/photos/90929958@N00/sets/72157632464860590/

 Regards,

 NIcholas


 -- Forwarded message --
 From: Péter Rózsa super8mmf...@gmail.com
 Date: Thu, Dec 20, 2012 at 5:12 AM
 Subject: UltraPan8
 To: Nicholas Kovats nkov...@gmail.com


 Szevasz Miklós!

 Now I am working for an institute, for the informatorium.

 By the end of 2012 the University of Szeged, the city of Szeged, the
 Biological Research Center in Szeged and the John von Neumann Computer
 Society will complete the establishing of a prestigious public
 institution called Szent-Györgyi Albert Agora, which will create a
 unique opportunity on a national level for presenting scientific
 achievements, innovation results and their industrial utilization.

 So, we have a screen wall whither we can project great pictures (a few
 months and films too).

 Miklós! Would you be able to send photos form your UltraPan8 films or
 other photos of Yours in that scale?

 Best, and Merry Xmas!

 Áldott karácsonyt!
 http://www.youtube.com/watch?v=wqlLE1wiIc4

 Peter
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 919-616-5425
 roycemarcusfi...@gmail.com
 https://twitter.com/RoyceMarcusFilm
 http://www.behance.net/RoyceMarcusFilms (password for video is preview
 without quotations)

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[Frameworks] Check out this new 16mm biographical film on Mr. Edward Nowill called Allure Of Objects.

[Nicholas Kovats]

Check out this wonderful biographical filmic record of Mr. UltraPan8
reperf Edward Nowill as shot by one of his student customers, Rosie
Carr. The film is called Allure Of Objects, i.e.

https://vimeo.com/54606201

Shot on a Bolex H16. This is a wonderful record of Edward's passion in
record cutting (!), a cargo bike with a pedal activated wooden shutter
release for his mounted 8mm camera, a portable bicycle mounted record
player, aero bikes and so on. I love the asynchronous soundtrack! Just
an all around wonderful piece.
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Re: [Frameworks] What film out/film recorder services are available in the Toronto area?

[Nicholas Kovats]

Hi Scott,

Thank you for the great insights and I am now convinced that the 16mm
film out is the way to go. Yes, Cinebyte was on my list but I was
initially leery of approaching them. But your specifics regarding
...unattended transfer to color intermediate negative
 and then a one-light print.. is the way to go and I will haggle 
 accordingly.

Are you familiar with any of the staff?

Regards,

Nicholas

On Sun, Dec 2, 2012 at 1:42 PM, Scott Dorsey klu...@panix.com wrote:
 You will actually find the filmout to 16mm will look better than a filmout
 to the same super-8 stock will, regardless of the originating format.  In
 fact, you will find that a filmout to 35mm might even look better and not
 cost all that much more.

 In Canada, I think Cinebyte has an Arrilaser machine.   You may find some
 folks with the older one-line CRT systems which, if properly maintained,
 can actually look very good.  However, the speed of the Arrilaser means
 a lot of companies are willing to do small jobs very cheaply just to keep
 the machines running.

 Since all you need is an unattended transfer to color intermediate negative
 and then a one-light print, you can probably do some dickering on a small job.
 --scott



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Re: [Frameworks] What film out/film recorder services are available in the Toronto area?

[Nicholas Kovats]

Thanks for the observation, Jeff. I am a big fan of your practical
implementation of the oversampling theory of scans aka the Nyquist
theorem.

However bitworks.org is my local resource here in Toronto and this is
what I have access to relative to my film work and testing.

On Sun, Dec 2, 2012 at 8:18 PM, Jeff Kreines jeffkrei...@mindspring.com wrote:
 Nicholas:

 The resolution and bit depth of your files are a bit low, IMHO.  The higher 
 resolution the scan, the better the output, whatever res it is.

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

 On Dec 2, 2012, at 7:15 PM, Nicholas Kovats nkov...@gmail.com wrote:

 Hi Scott,

 Thank you for the great insights and I am now convinced that the 16mm
 film out is the way to go. Yes, Cinebyte was on my list but I was
 initially leery of approaching them. But your specifics regarding
 ...unattended transfer to color intermediate negative
 and then a one-light print.. is the way to go and I will haggle 
 accordingly.

 Are you familiar with any of the staff?

 Regards,

 Nicholas

 On Sun, Dec 2, 2012 at 1:42 PM, Scott Dorsey klu...@panix.com wrote:
 You will actually find the filmout to 16mm will look better than a filmout
 to the same super-8 stock will, regardless of the originating format.  In
 fact, you will find that a filmout to 35mm might even look better and not
 cost all that much more.

 In Canada, I think Cinebyte has an Arrilaser machine.   You may find some
 folks with the older one-line CRT systems which, if properly maintained,
 can actually look very good.  However, the speed of the Arrilaser means
 a lot of companies are willing to do small jobs very cheaply just to keep
 the machines running.

 Since all you need is an unattended transfer to color intermediate negative
 and then a one-light print, you can probably do some dickering on a small 
 job.
 --scott



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[Frameworks] Is there software available to convert a scanned image of a optical soundtrack into a digital audio file?

[Nicholas Kovats]

Just wondering as there is a reference to a ...AEO-Light software
from the University of South Carolina MIRC.. in the following Kinetta
scan demonstrating a terrific early 50's 16mm Kodachrome film
regarding the Auricon Pro 1200 16mm camera, i.e.
http://www.youtube.com/watch?v=AGF-_hRYR4Ifeature=youtu.be
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Re: [Frameworks] Is there software available to convert a scanned image of a optical soundtrack into a digital audio file?

[Nicholas Kovats]

I answered my own question. From the research paper, i.e. Our
proposal seeks to develop open-source software to serve a truly global
community of film archives.

A wonderful initiative.

On Fri, Nov 9, 2012 at 2:11 PM, Nicholas Kovats nkov...@gmail.com wrote:
 Thanks, Rick, for your prompt reply! Do they intend to enter this
 software into the public domain?

 On Fri, Nov 9, 2012 at 2:08 PM, Rick Prelinger foot...@panix.com wrote:
 USC is working on it. Here is a portion of their NEH grant application:

 http://www.neh.gov/files/grants/university_of_south_carolina_open-source_application_for_image-based_digital_reproduction_of_optical.pdf

 You need a pretty high-res scan of a track in good condition, but the
 results sound great.

 You can also get this done in Hollywood using proprietary software, but I
 imagine it is expensive.

 Rick
 --

 Rick Prelinger / @footage
 Prelinger Archives, San Franciscohttp://www.prelinger.com
 foot...@panix.com

 Prelinger Library (http://www.prelingerlibrary.org), a member of the
 Intersection Incubator, a program of Intersection for the Arts providing
 fiscal sponsorship, incubation and consulting to artists
 (http://www.theintersection.org). Supported in part by a grant from
 Alternative Exposure.




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Re: [Frameworks] Is there software available to convert a scanned image of a optical soundtrack into a digital audio file?

[Nicholas Kovats]

Thanks, Rick, for your prompt reply! Do they intend to enter this
software into the public domain?

On Fri, Nov 9, 2012 at 2:08 PM, Rick Prelinger foot...@panix.com wrote:
 USC is working on it. Here is a portion of their NEH grant application:

 http://www.neh.gov/files/grants/university_of_south_carolina_open-source_application_for_image-based_digital_reproduction_of_optical.pdf

 You need a pretty high-res scan of a track in good condition, but the
 results sound great.

 You can also get this done in Hollywood using proprietary software, but I
 imagine it is expensive.

 Rick
 --

 Rick Prelinger / @footage
 Prelinger Archives, San Franciscohttp://www.prelinger.com
 foot...@panix.com

 Prelinger Library (http://www.prelingerlibrary.org), a member of the
 Intersection Incubator, a program of Intersection for the Arts providing
 fiscal sponsorship, incubation and consulting to artists
 (http://www.theintersection.org). Supported in part by a grant from
 Alternative Exposure.




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Re: [Frameworks] Meditation on Blue Time Lapse Variation on You Tube

[Nicholas Kovats]

Very nice! I am intrigued as to the technique used.

Sent from my iPhone

On 2012-08-20, at 12:27 AM, Emile Tobenfeld (a.k.a Dr. T)
em...@foryourhead.com wrote:

 Meditation on Blue  Time Lapse Variation
 http://youtu.be/85zwwY7Nr0M is a slowed down version of the piece
 requested by a viewer. Ideally, I'd slow down the water but not the
 animation, but that would have been a lot more work. Let me know
 which Meditation on Blue you prefer.

 BTW Some of my photography can be viewed at
 http://www.flickr.com/photos/22231918@N06/collections/72157603627170351/
 --
  Practice makes perfect, imperfect is better.  -- Paul Bley

Emile Tobenfeld, Ph. D.
 Video ProducerImage Processing Specialist
 Video for your HEAD!Boris FX
 http://www.foryourhead.comhttp://www.borisfx.com
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Re: [Frameworks] Hand-cranking 16mm projector?

[Nicholas Kovats]

l am very grateful for your introduction to me of the world of Robert
Schaller. Wow!

On Wed, Jun 13, 2012 at 3:09 PM, Jason Halprin jihalp...@yahoo.com wrote:
 And, if you get your hands on any of these, you can rewire the lamp portion
 to run on LEDs (ala Robert Schaller's Wilderness Film Expeditions). No fan
 necessary.

 -JH

 
 From: Ekrem Serdar ekremser...@gmail.com
 To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
 Sent: Wednesday, June 13, 2012 1:40 PM
 Subject: Re: [Frameworks] Hand-cranking 16mm projector?

 There are the 16mm koda-toy projectors

 --
 ekrem serdar
 austin, tx

 On Jun 13, 2012, at 1:28 PM, k. a.r. a_r...@hotmail.com wrote:

 I have an ancient film projector that is hand cranked.
 It's a Bell  Howell Filmo, and the thing has to be 90-100 years old.
 The only thing electric on it is the bulb

 So, they're out there



 Kristie Reinders, B.F.A.
 Director of Cinematography, Electric Visions
 Curator and Head Projectionist, Electric Mural Project
 The Mission, San Francisco, CA

 'A first class technician should work best under pressure.'
 - - - Issac Asimov


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[Frameworks] New UltraPan8 film At Times I Meditate Nothing

[Nicholas Kovats]

Inspired by Fred Jenne's wonderful Chocolate Inspirational Experience
and the beautiful space/grounds of The Yoga House in Toronto, i.e.
http://vimeo.com/39417454

Filmed in the new motion picture format called Ultrapan8. Camera used
was Bolex UP8 camera# 1. Film stock is reversal Ektachrome 100D and
Plus X. Lenses used were Som Berthiot Cinor P 25mm and Angenieux
5.9mm.

Cheers!

Nicholas

lovegrows.ca/
theyogahouse.ca/
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Re: [Frameworks] Orwo 54 80iso 16mm developed as Negative at Cinelab test

[Nicholas Kovats]

Very nice. Luminous!

Sent from my iPhone

On 2012-03-27, at 6:13 PM, Robert Houllahan lunarfi...@mindspring.com wrote:

 http://vimeo.com/39300154

 We ran this with a 0.66 Gamma and the same time and temp as we run Plus-X 
 Negative.

 VP Cinelab Inc.

 Robert Houllahan
 Film Maker
 www.lunarfilms.com
 http://www.vimeo.com/lunarfilms












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Re: [Frameworks] digitizing 8mm and S8 mm

[Nicholas Kovats]

Congrats on the expanding business, Jeff!

Your statements have been validated and represent my current
methodology with both Super 8 and UltraPan8 film. I utilize the custom
over-scanned services of engineer John Gledhill at bitworks.org here
in Toronto and the amount of information extracted from the typical
frame is inspiring.

Any updates on your efforts regarding a more affordable desktop
version of the Kinetta?

NIcholas


On Mon, Mar 5, 2012 at 1:01 AM, Jeff Kreines jeffkrei...@mindspring.com wrote:
 Forgive me for reposting something from 3 months ago, but I think it is
 important to think about scanning resolution vs. output resolution.  Small
 formats actually benefit more than formats like 35mm from high resolution
 scanning, because they have a much higher amount of grain in a frame, and if
 that grain isn't resolved, it looks quite mushy.   Remember, grain is the
 soul of the emulsion.

 A couple of recent films with a large amount of Super-8 footage that are
 headed for (probably digital) theatrical releases had their S8 footage
 scanned on a Kinetta Archival Scanner.  Ricky on Leacock was scanned at
 As'Image in Paris, and Our Nixon will be scanned this month at the Nixon
 Library in glorious Yorba Linda, California.  These are all being scanned at
 12-bit, 3296 x 2472 resolution (or overscanned inside of that res).

 The scanner has the ability to capture the full dynamic range of reversal
 original or prints, as well as negative stock.  It can handle extremely
 damaged film without having to repair perfs before scanning.  No sprockets,
 and the ability to frame the image as desired, like an optical printer.  It
 also has an extremely bright but cool light source that is great for dealing
 with underexposed footage without adding any electronic noise.

 While many of these scanners are in archives and not available for public
 use, there are a few that are available to anyone.  One is at As'Image in
 Paris (thanks, Pip, for that!), Shai Drori in Israel is getting his shipped
 this week, and VTC in San Francisco is getting their machine this month.
  There will also be a machine available for rent in Boston in a few weeks.

 There is a big difference between scanners, telecines, and projector-based
 film chains.  Scanners capture data at high bit-depth and resolution, and
 the files are usable for anything from 4K digital cinema masters to web
 videos (and everything else in between.  Telecines are video-centric, and
 the files are captured to tape or disk in SD or HD video formats.  This
 means silent footage has either repeated or blended frames when converted to
 23.976 or 25 or 29.97 fps.  Film chains are typically a video camera and
 projector wedded in an unholy alliance.

 OK, the old note, with links to frames at various resolutions, follows.

 Jeff Kreines
 Kinetta
 jeff@kinetta

 Disclaimer:  I designed and build Kinetta scanners.

 

 There is a common belief -- which, like a lot of common wisdom should be
 looked at skeptically -- that small format film lacks enough useful
 information to require scanning at resolutions greater than pillarboxed
 HD (1080 x 1440) or cropped HD (1080 x 1920).  Some feel that for Super-8
 and 8mm, NTSC, PAL, and 720P are, in the words of an engineer I know, good
 enough.

 But I don't think anyone really tested this properly -- they just said what
 seemed logical enough to them.  It's fine to say that looks pretty good at
 1080 x 1440 but those who say this probably did not try scanning the same
 film at higher resolutions to see if there was an appreciable difference.

 I did some simple tests, and honestly was quite surprised at the results.
  Even when the final release format is HD or less, the advantages of high
 resolution scans are obvious.

 I put together a little PDF you can download, with both Super-8 and grainy
 16mm samples scanned at different resolutions.  It was written in response
 to a report by the Swiss group Memoriav, which was doing tests of small
 format (for them this includes 16mm) scanning.

 Here's a link:

 http://db.tt/iriz5nyY

 Here are links to full-res TIFFs of the files used -- zoom in on them and
 see what you are losing with lower resolution scans.  Note that the files
 are mostly over 20MB each, so don't try this on your cell phone.

 http://db.tt/8cw0YUXU

 http://db.tt/xizfMgLq

 http://db.tt/VvwuPSog

 http://db.tt/LR0Phcy2

 http://db.tt/BofN5ls8

 http://db.tt/aPXrsxAf

 http://db.tt/JSC7Vf2C

 http://db.tt/SGYbJiWb

 http://db.tt/X1flduqJ

 Let me know what you think.

 Jeff Kreines

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[Frameworks] 8Fest workshop: UltraPan8, Plus-X and the 5.9 mm Angenieux.

[Nicholas Kovats]

I recently attended the 2012 8Fest R8 workshop led by my friend and
instructor, John Kneller. Workshop participants shot on two R8 cameras
and the UP8 cam. Here is the overscanned uncropped example of their
work shot on the UltraPan8 format with Plus-X and the 5.9mm ultrawide
Angenieux lens. The film was rated at 100 ASA with stops ranging from
f4-5.6.

http://vimeo.com/36944151

Thank you John Kneller for an excellent class!

2012 8Fest - http://www.the8fest.com/
John Kneller - http://www.mikehoolboom.com/r2/artist.php?artist=18

Cheers!

Nicholas K.
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Re: [Frameworks] New experimental Super 8 film shot w/ Leicina Special

[Nicholas Kovats]

Thanks, Kevin. I am interested in replicating this with my UltraPan8
format with a modern reversal stock such as Ektachrome 100D. I suspect
it will have similar Kodachrome jet blacks albeit fresh stock.

Regards,

Nicholas

On Fri, Jan 27, 2012 at 3:52 PM, Kevin Timmins on-on...@hotmail.com wrote:
 Just wanted to say this is brilliant.

 I love the moments that slip from abstraction into something figurative (I'm
 guessing this happened when the rider stopped riding).

 Held me to the end (which is quite difficult to do on youtube or vimeo).

 Thanks
 Kevin

 Date: Fri, 27 Jan 2012 13:44:28 -0500
 From: nkov...@gmail.com
 To: frameworks@jonasmekasfilms.com
 Subject: [Frameworks] New experimental Super 8 film shot w/ Leicina
 Special

 This is my latest film shot back in late 2010 regarding my ideas
 involving bicycle based cinematography.

 I utilized my robust Leitz Leicina Special camera which has an
 electromagnetic shutter and this in turn was connected to a ST1
 controller. I configured a combination of time exposure (3s per
 frame)and time lapse (1 frame every 1.5s).

 The camera was attached forward facing to my handle bars via an over
 engineered ballhead and Super clamp. It's rigidity partially absorbed
 but mostly transmitted the shockwaves from the cold ride. I used out
 of date Kodachrome 40 film circa 1981. The exposed film was sent to
 the last remaining Kodachrome lab just 2 weeks prior to being
 permanently shuttered. Kodachrome film is no more and was officially
 discontinued production by Kodak in 2009.

 I suspect the film's age (29 years!) resulted in the silver metallic
 dyes not coupling correctly to the multiple emulsion layers.

 I have decided to upload the full overscanned and edited image
 sequence, i.e. edge to edge. That is the Super 8 perforation to the
 left of the image.

 A big thank you to Martin Reiss as the ghost rider who can be
 occasionally glimpsed in front my rig!

 http://vimeo.com/35695252
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Re: [Frameworks] seeking double perf film

[Nicholas Kovats]

That would be Mr. Edward Nowill in the UK, i.e. edwardnow...@btinternet.com

His machine perf dies are setup for 2 perf 16mm to 2 perf
R8...specifically 2R-2994 16mm to 2R-1497 R8. Acetate only. He charges
approximately 40 GBP per 400 FT.

Attempting to punch single perf 16mm B Wind (1R-2994) would damage his
dies and necessitate expensive replacement. This is a predominately
labour of love niche service utilizing professional machines.

Cheers!

On Tue, Jan 24, 2012 at 12:06 AM, John Woods jawood...@yahoo.ca wrote:
 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

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Re: [Frameworks] seeking double perf film

[Nicholas Kovats]

Sarah,

Which format are you referring to? i.e. 16mm 2 perf - 2R-2994 or R8 2
perf -  2R-1497. Are you seeking to re-perforate 2 perf 16mm stock
into 2 perf R8?

This is a current list of Kodak 2 perf 16mm stock 2R-2994 (acetate based), i.e.

a.) Catalog schema - 2R (2x perf) 2994 (pitch in 1/1 inch).
b.) 2011 Kodak catalog source -
http://motion.kodak.com/motion/uploadedFiles/QA_MotionPictureCatalog_May15_2011.pdf

1. KODAK VISION3 500T Color Negative Film 7219
cat# min order net unit net price effective date
SP449 / 16 mm x 100 ft roll / Camera Spool / 2R-2994 1240761 1 1-+
37.57 03/05/2010
SP578 / 16 mm x 400 ft roll / Camera Spool / 2R-2994 1908789
 5 1-+
147.93 03/05/2010
SP451 / 16 mm x 400 ft roll / On Core / 2R-2994 1270982 1 1-+ 146.18 03/05/2010

2. KODAK VISION3 250D Color Negative Film 7207
SP578 / 16 mm x 400 ft roll / Camera Spool 2R-2994 8110298 5 1-+
147.93 03/05/2010

3. KODAK VISION3 200T Color Negative Film 7213
SP449 / 16 mm x 100 ft roll / Camera Spool / 2R-2994 8765612
 18 1-+
37.57 05/26/2010
SP451 / 16 mm x 400 ft roll / On Core / 2R-2994 1102680 1 1-+ 146.18 05/26/2010

4. KODAK EKTACHROME 100D Color Reversal Film 7285
16 mm with 8 mm Perforations
SP467 / 16 mm x 400 ft roll / On Core, (Type R) / 2R-1497 8679318
 20
1-+ 141.92 11/08/2006

5. KODAK TRI-X Reversal Film 7266
16 mm with 8 mm Perforations
SP467 / 16 mm x 400 ft roll / On Core / 2R-1497 8751935
 5 1-+ 86.69 02/02/2010

6. KODAK VISION Color Intermediate Film 7242
35 mm with 16 mm perforations
SP452 / 16 mm x 1200 ft roll / On Core / 2R-2994 1791284
 2 1-+ 365.28
03/01/2002
SP452 / 16 mm x 2000 ft roll / On Core / 2R-2994 1689488 2 1-+ 608.80 03/01/2002

7. EASTMAN Color Internegative II Film 7272
CIT452 / 16 mm x 1200 ft roll / On Core / 2R-2994 1020718
 1 1-+
618.54 02/15/2009

8. EASTMAN Fine Grain Duplicating Panchromatic Negative Film 5234 / 7234
FDN452 / 16 mm x 2000 ft roll / On Core / 2R-2994 1959766 2 1-+ 375.06
02/15/2009

In theory all 2 perf stocks are shippable anywhere but in practice
Kodak US/Canada do not seem to coordinate very well with Kodak UK.

Cheers!

Nicholas

On Mon, Jan 23, 2012 at 6:44 AM, sarah browne sarahjbro...@yahoo.ie wrote:
 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

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Re: [Frameworks] Perfs

[Nicholas Kovats]

Edward Nowill in the UK might be able assist you, i.e. edwardnow...@talktalk.net

He is a retired engineer who typically reperfs 2 perf 16mm reversal or
negative into Regular 8mm, i.e. adding two additional perfs per 16mm
frame. He charges approx. 20 GBP per 400 ft 16mm stock for that
service.

Sent from my iPhone

On 2011-10-21, at 6:36 PM, Myron Ort z...@sonic.net wrote:

 Anyone know of an accessible tool, machine, or service whereby I can
 add a set of perforations to 16mm single-perforated  prints , thus
 rendering them double-perforated ?

 Myron Ort
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[Frameworks] Lenny Lipton reminisces George Kuchar.

[Nicholas Kovats]

http://lennylipton.wordpress.com/2011/09/16/george-kuchar/

I remember laughing so hard with George that I had to fight for
breath.  I remember one occasion when George laughed so hard that he
fell out of his chair.
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