[Frameworks] brooklyn loft sublet starting july 2020 ($1440/month)

[ev petrol]

Hey folks, 
apologies for multiple postings, I had some of the info wrong - corrected 
below!Moira

I'mlooking for a clean and reliable subletter for my old-school loft 
inBrooklyn, from July 2020 till at least the end of the year (finalizingdates 
at the mo, will discuss further in person; an earlier move in could also be 
possible). Theloft is big and spacious (approx 550 square feet) with 
hardwoodfloors, high ceilings and great light; there’s a separate bedroomand a 
large living room with basic kitchen (two hot plates, counter,fridge and sink). 
The loft is fully furnished, close to two subwaystops and has a view of 
Manhattan (and lots of good books andmusic!). I'm an independent filmmakerwho 
will be travelling for work - the loft is my live/work space, soI’m looking for 
someone who will respect and take care of it whileI’m out of town. 

Rentis $1440, this includes utilities(without a/c) and cleaning once a month. 
Additional utilities (eg: ifa/c used) will be paid by the subletter. Tosecure 
the sublet I'll need 3 references, the 1st month’s rent anda deposit of one 
month’s rent which I will return once you've movedout. The replacement cost of 
anything missing or damaged will besubtracted from the deposit. No pets allowed 
(non-negotiable). Get intouch for pix, further info !

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[Frameworks] brooklyn loft sublet starting july 2020

[ev petrol]

Hey folks,
just realised I had the wrong month in my last email (lockdown brain) - 
corrected below!

There's a 16mm flatbed and projector in the loft, both in good working 
condition.

cheers Moira
  
I'mlooking for a clean and reliable subletter for my old-school loft 
inBrooklyn, from July 2020 till at least the end of the year (finalizingdates 
at the mo, will discuss further in person; an earlier move in could also be 
possible). Theloft is big and spacious (approx 550 square feet) with 
hardwoodfloors, high ceilings and great light; there’s a separate bedroomand a 
large living room with basic kitchen (two hot plates, counter,fridge and sink). 
The loft is fully furnished, close to two subwaystops and has a view of 
Manhattan (and lots of good books andmusic!). I'm an independent filmmakerwho 
will be travelling for work - the loft is my live/work space, soI’m looking for 
someone who will respect and take care of it whileI’m out of town. 

Rentis $1620, this includes utilities(without a/c) and cleaning once a month. 
Additional utilities (eg: ifa/c used) will be paid by the subletter. Tosecure 
the sublet I'll need 3 references, the 1st month’s rent anda deposit of one 
month’s rent which I will return once you've movedout. The replacement cost of 
anything missing or damaged will besubtracted from the deposit. No pets allowed 
(non-negotiable). Get intouch for pix, further info 

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[Frameworks] brooklyn loft sublet starting june 2020

[ev petrol]

Hey folks,
hope you're all managing ok in these weird times?
I'm looking for a subletter, info below in case you know of anyone looking - 
and please pass it on.There's a 16mm flatbed and projector in the loft, both in 
good working condition.

cheers Moira
  
I'mlooking for a clean and reliable subletter for my old-school loft 
inBrooklyn, from June 2020 till at least the end of the year (finalizingdates 
at the mo, will discuss further in person; an earlier move in could also be 
possible). Theloft is big and spacious (approx 550 square feet) with 
hardwoodfloors, high ceilings and great light; there’s a separate bedroomand a 
large living room with basic kitchen (two hot plates, counter,fridge and sink). 
The loft is fully furnished, close to two subwaystops and has a view of 
Manhattan (and lots of good books andmusic!). I'm an independent filmmakerwho 
will be travelling for work - the loft is my live/work space, soI’m looking for 
someone who will respect and take care of it whileI’m out of town. 

Rentis $1620, this includes utilities(without a/c) and cleaning once a month. 
Additional utilities (eg: ifa/c used) will be paid by the subletter. Tosecure 
the sublet I'll need 3 references, the 1st month’s rent anda deposit of one 
month’s rent which I will return once you've movedout. The replacement cost of 
anything missing or damaged will besubtracted from the deposit. No pets allowed 
(non-negotiable). Get intouch for pix, further info 

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[Frameworks] Cheap place to buy / develop Super 8mm stock in Europe?

[ev petrol]

Hey folks, any hot tips?thanks! Moira
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[Frameworks] brooklyn sublet with 16mm flatbed, oct 20 2019 - june 30 2020

[ev petrol]

 Hey folks,

I'm looking for a clean and reliable subletter for my old-school loft in 
Brooklyn, from approx October 21st 2019 to June 30th 2020 (finalizing dates at 
the mo, will discuss further in person). The loft is big and spacious (approx 
550 square feet) with hardwood floors, high ceilings and great light; there’s a 
separate bedroom and a large living room with basic kitchen (two hot plates, 
counter, fridge and sink). The loft is fully furnished, close to two subway 
stops and has a view of Manhattan (and lots of good books and music!). I'm 
travelling for work - the loft is my live/work space, so I’m looking for 
someone who will respect and take care of it while I’m out of town. 

Rent is $1620, this includes utilities (without a/c) and cleaning once a month. 
Additional utilities (eg: if a/c used) will be paid by the subletter. To secure 
the sublet I'll need 3 references, the 1st month’s rent and a deposit of one 
month’s rent which I will return once you've moved out. The replacement cost of 
anything missing or damaged will be subtracted from the deposit. No pets 
allowed (non-negotiable). Get in touch for pix, further info !  ___
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[Frameworks] shipping to festivals?

[ev petrol]

Hey folks.
any tips for shipping a DCP from NYC to france? i'm wondering about reliability 
vs cost ...?
cheers Moira

moiratierney.net vimeo.com/moiratierney
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[Frameworks] another subtitling question

[ev petrol]

Hey folks

I have to subtitle a 50 min film & I'm wondering about the best way to do it 

- I'm working in Avid & what I've done in the past is make an individual title 
for each subtitle, which is grand for shorts, but will be time-consuming for 
this longer film

- would anyone have advice on better ways to approach it?

thanks! Moira

moiratierney.net vimeo.com/moiratierney

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[Frameworks] subtitling question

[ev petrol]

Hey folks

how would you go about subtitling scrolling text? i'm wondering about 
legibility, if the subtitles are superimposed over the scroll ...??

cheers all round 
moira

moiratierney.net 
vimeo.com/moiratierney
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[Frameworks] sublet with steenbeck in Brooklyn, feb 26 - march 8

[ev petrol]

hey folks,

i'm looking for a reliable subletter from feb 26th to march 8th

There's a fully functioning 16mm flatbed; the space is a big, old school loft 
in dumbo (ie: lots of space and light, view of manhattan, empire state building 
, roof access; basic mod cons)
Kitchen has 2 hot plates, fridge, counter & sink; there's a bathroom with 
shower; big bedroom & living room, 6th floor with elevator; loads of books and 
good music.

It's a block and a half from the York st F station and 5 mins from the A train 
High st station; I'm also up for somebody using my bike, as long as it's intact 
when I get back

$457 including utilities and wifi; $350 deposit + $100 cleaning fee (if the 
place is really clean when I get back, I'll pro-rate the cleaning fee)

get in touch for more details, pix 
cheers Moira

http://moiratierney.net/
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[Frameworks] streaming a 50 min film

[ev petrol]

Hello folks,
has anyone advice about the best way to provide a streaming preview link of a 
50 min film?
I tried uploading a H264 2G file to my site, but I'm getting mixed feedback, it 
seems to be stalling for some people
I've been using vimeo for shorter films, but I'm concerned that compressing 
this one down to 500mb is going to result in poor image quality
I'm working on a windows 7 laptop
cheers! Moira

moiratierney.net
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[Frameworks] streaming a 50 min film

[ev petrol]

Hello folks,
has anyone advice about the best way to provide a streaming preview link of a 
50 min film?
I tried uploading a H264 2G file to my site, but I'm getting mixed feedback, it 
seems to be stalling for some people
I've been using vimeo for shorter films, but I'm concerned that compressing 
this one down to 500mb is going to result in poor image quality
I'm working on a windows 7 laptop
cheers! Moira

moiratierney.net
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Re: [Frameworks] Eiki SL-0 belt - found at the Nuthouse on 29th st

[ev petrol]

for anyone who's looking - I scored a couple of spare belts at the Nuthouse, 
open 24 hours (worth calling ahead, so you can persuade them to go down to the 
basement and dig them out) 
http://nuthousehardware.com/

moiratierney.net vimeo.com/moiratierney


On Fri, 9/15/17, ev petrol <epetr...@yahoo.com> wrote:

 Subject: Re: [Frameworks] Eiki SL-0 belt
 To: "Experimental Film Discussion List" <frameworks@jonasmekasfilms.com>, 
"ShermanGeorge" <sgeo...@ucsd.edu>
 Cc: "epetr...@yahoo.com" <epetr...@yahoo.com>
 Date: Friday, September 15, 2017, 9:17 PM
 
 Thanks for the tips gents!
 
 moiratierney.net
 vimeo.com/moiratierney
 
 
 On Thu, 9/14/17, George, Sherman <sgeo...@ucsd.edu>
 wrote:
 
  Subject: Re: [Frameworks] Eiki SL-0
 belt
  To: "Experimental Film Discussion
 List" <frameworks@jonasmekasfilms.com>
  Cc: "epetr...@yahoo.com"
 <epetr...@yahoo.com>
  Date: Thursday, September 14, 2017,
 7:41 PM
  
  Check at:
  https://www.mcmaster.com/#o-rings/=19dwdm3
  McMaster-Carr is a truly great
 industrial
  hardware co.
  No minimum, they have it in
  stock and ship in 36 hours They do
 charge for shipping but
  so does everyone else.
  See the full line of
  products at
  www.mcmaster.com
  Sherman
  
  
  >
  On Sep 14, 2017, at 4:05 PM, Scott
 Dorsey <klu...@panix.com>
  wrote:
  > 
  > I think
  that belt is just a big industrial
 O-ring.  A plumbing
  supply house
  > should have spares, I
  don't think you'll even need to go to
 PRB or
  someplace.
  > --scott
  >
 
 ___
  > FrameWorks mailing list
  > FrameWorks@jonasmekasfilms.com
  > https://mailman-mail5.webfaction.com/listinfo/frameworks
  
  Sherman George
  sgeo...@ucsd.edu
  858-229-4368
  
  
  
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[Frameworks] & super 8 camera cleaning

[ev petrol]

... also wondering if anyone has heard from Abdul Setoua recently? I'm hoping 
to get my Canon Super 8mm cleaned (hair inside lens, by the looks of it)
cheers Moira

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[Frameworks] optic printer in NYC

[ev petrol]

Hey folksdoes anyone know of a working optic printer in NYC? seems like the 
Millenium one is out of service for the mo (?)
cheers Moira moiratierney.net vimeo.com/moiratierney


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[Frameworks] jaipur film festival?

[ev petrol]

hey folksdoes anyone know anything about this festival? JIFF | Jaipur 
International Film Festivalcheers moira
  
|  
|   |  
JIFF | Jaipur International Film Festival
 home  |  |

  |

 
 moiratierney.net 
vimeo.com/moiratierney


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[Frameworks] SD to HD up-res quote?

[ev petrol]

hey folksdoing up a budget and wondering where to go for an up-res quote - 
anyone have any leads?cheers moira moiratierney.net vimeo.com/moiratierney


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Re: [Frameworks] HD telecine?

[ev petrol]

thanks gents for the tips! will investigate ...cheers moira moiratierney.net 
vimeo.com/moiratierney

  From: Pip Chodorov <framewo...@re-voir.com>
 To: ev petrol <epetr...@yahoo.com>; Experimental Film Discussion List 
<frameworks@jonasmekasfilms.com> 
 Sent: Monday, July 18, 2016 5:57 PM
 Subject: Re: [Frameworks] HD telecine?
   
Hi Moira,
I swear by Metropolis, 115 W 30th in NY.
I have done many transfers for Re:Voir there.
Jack just got a super-8 scanner too.
The prices are only slightly higher for 2K scan than for HD telecine 
and the results are much better.
-Pip


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[Frameworks] where to buy 16mm cans & Super 8mm reels+cans in NYC?

[ev petrol]

any ideas folks?
cheers moira

moiratierney.net vimeo.com/moiratierney
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[Frameworks] loft sublet in brooklyn may-sept (with 16mm flatbed)

[ev petrol]

hey folks!

(sorry if this posts twice - getting the bounce message again so i'm not sure 
my first email got through)

i'm looking for a subletter from may 15th till aug 31st, in case you know 
anyone looking (& feel free to pass it on)

large loft in brooklyn (dumbo), old school but all the basics, $1280/month + 
utilities (which average $40-60 depending on usage), 6th floor (no elevator at 
the moment - new one currently being installed), a block and a half from the 
york st F station & 5 mins from the A train high st station, get in touch for 
more details, pix 

first months rent + 1.5 months deposit needed to move in; no pets; keepin the 
place clean imperative (lots of film gear including working 16mm flatbed)

cheers all round!
moira

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[Frameworks] loft sublet in brooklyn may-sept (with 16mm flatbed)

[ev petrol]

hey folks!

i'm looking for a subletter from may 15th till aug 31st, in case you know 
anyone looking (& feel free to pass it on)

large loft in brooklyn (dumbo), old school but all the basics, $1280/month + 
utilities (which average $40-60 depending on usage), 6th floor (no elevator at 
the moment - new one currently being installed), a block and a half from the 
york st F station & 5 mins from the A train high st station, get in touch for 
more details, pix 

first months rent + 1.5 months deposit needed to move in; no pets; keepin the 
place clean imperative (lots of film gear including working 16mm flatbed)

cheers all round!
moira

moiratierney.net vimeo.com/moiratierney
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Re: [Frameworks] bounce message ...?

[ev petrol]

ah i'm using yahoo as well, maybe that's it ... thanks gents!

moiratierney.net vimeo.com/moiratierney


On Sat, 2/6/16, Jason Halprin <jihalp...@gmail.com> wrote:

 Subject: Re: [Frameworks] bounce message ...?
 To: "Experimental Film Discussion List" <frameworks@jonasmekasfilms.com>
 Date: Saturday, February 6, 2016, 9:42 PM
 
 I used to get this a couple times
 per year with my yahoo address.
 -JH
 
 On Saturday, February 6, 2016, Pip Chodorov <framewo...@re-voir.com>
 wrote:
 Your
 membership is not disabled, but sometimes people get this if
 a certain number of mails to their address have bounced.
 
 
 
 
 
 At 21:42 + 6/02/16, ev petrol wrote:
 
 
 hey folks, just got this - any clues as to what it's
 about?
 
 cheers moira
 
 
 
 Your membership in the mailing list FrameWorks has been
 disabled due
 
 to excessive bounces The last bounce received from you was
 dated
 
 
 ___
 
 FrameWorks mailing list
 
 FrameWorks@jonasmekasfilms.com
 
 https://mailman-mail5.webfaction.com/listinfo/frameworks
 
 
 
 -- 
 Jason HalprinSent via smartphone, please excuse typos
 
 -Inline Attachment Follows-
 
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Re: [Frameworks] Call for Submissions: Edinburgh International Film Festival

[ev petrol]

Hello Kim, how are you?

I had your submission deadline down on my list and somehow let the date slip, 
daft altogether - is there any chance you could still accept a submission?

this is what I was hoping to send in (horrible telecine, but I've a better one 
coming soon): 
American Dreams #5: Cruise Control (2016, 10 mins, 16mm) 
https://vimeo.com/152864920

Hope you don't mind me asking - and if it's too late I fully understand
all the best,
Moira Tierney

moiratierney.net 
vimeo.com/moiratierney


On Tue, 12/22/15, Kim Knowles  wrote:

 Subject: [Frameworks] Call for Submissions: Edinburgh International Film   
Festival
 To: "Experimental Film Discussion List" 
 Date: Tuesday, December 22, 2015, 4:22 AM
 
 
 
  
 
 
 
 
 Call for Submissions:
 70th Edinburgh International Film Festival
 
 
 
 
 
 
 
 
 Deadline: February 17, 2016
 
 
 
 Festival dates: June 15 - 26, 2016
 
 
 
 EIFF are inviting experimental submissions for the
 Black Box strand, now in its 14th year. We welcome
 short to medium length work on 16mm, 35mm and digital.
 
 
 
 Black Box is a distinctive section within the festival,
 which presents a diverse spectrum of
 experimental work from around the world. It is committed to
 supporting photochemical film and artisanal practice as well
 as digital.
 
 
 
 All films must be UK premieres and should be no more
 than 12 months old at the time of screening. Full rules and
 regulations can be found here: 
http://www.edfilmfest.org.uk/submissions/rules-regulations.
 
 
 
 As in previous years, I am able to offer fee waivers to
 EIFF alumni and Frameworks subscribers. To take advantage of
 this please contact me privately with an indication of
 whether you would like to submit online or by post.
 
 
 
 Happy holidays to you all!
 
 
 
 Kim Knowles
 Experimental Programmer
 Edinburgh International Film Festival
 
 
 
 
 
 
 
 CMI
 ===
 
 KEEP IN TOUCH WITH EIFF 
 
 Become a web member for FREE and receive news and offers:
 http://www.edfilmfest.org.uk/register
 
 Follow EIFF at: https://twitter.com/edfilmfest or
 http://www.facebook.com/edfilmfest
 
 
 ===
 
 t. +44(0)131 228 4051
 
 f. +44(0)131 229 5501
 
 w. http://www.edfilmfest.org.uk
 
 88 Lothian Road, Edinburgh EH3 9BZ Scotland, United Kingdom
 
 The Edinburgh International Film Festival Limited is a
 subsidiary of the Centre for the Moving Image. Registered in
 Scotland No: SC132453. VAT No: 502 548861. Registered
 Office: 88 Lothian Road, Edinburgh.
 
 
 
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[Frameworks] bounce message ...?

[ev petrol]

hey folks, just got this - any clues as to what it's about?
cheers moira

Your membership in the mailing list FrameWorks has been disabled due
to excessive bounces The last bounce received from you was dated
04-Feb-2016.  You will not get any more messages from this list until
you re-enable your membership.  You will receive 3 more reminders like
this before your membership in the list is deleted.

To re-enable your membership, you can simply respond to this message
(leaving the Subject: line intact), or visit the confirmation page at


https://mailman-mail5.webfaction.com/confirm/frameworks/63926490ea6fd8a0d5649bef434b7469245cc73d


You can also visit your membership page at

https://mailman-mail5.webfaction.com/options/frameworks/epetrol2%40yahoo.com


On your membership page, you can change various delivery options such
as your email address and whether you get digests or not.  As a
reminder, your membership password is

inohpidi

If you have any questions or problems, you can contact the list owner
at

frameworks-ow...@jonasmekasfilms.com

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[Frameworks] flatmate / sublet in brooklyn (starting feb)

[ev petrol]

Hey folks
happy 2016!

I'm looking for someone to share the loft for feb and sublet from march on 
(with the possibility of sharing again when I come back, date tbc)

the loft is pretty big, there's a lot of space; it's in Dumbo (just underneath 
the Manhattan bridge) & a block and a half from the F train York st stop

extra plus for 16mm film-makers: working steenbeck (+ projectors, splicers, 
reels )

the elevator is not working at the moment (a new one is currently being 
installed) & i'm on the 6th floor - can't say i miss it much myself, but then i 
rarely used it while it was working, so i'm used to the stairs

it's definitely an old-school loft situation (no frills but all the basics) - 
if you're interested get back to me for more details

cheers Moira

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[Frameworks] opensource DCP program (all platorms)

[ev petrol]

hey folks, you may already be onto this but for those who aren't, sounds like 
it might be worth investigating
http://dcpomatic.com/
anyone used it? any feedback? 
cheers moira

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[Frameworks] quiet spot to edit in NYC

[ev petrol]

hey folks
i'm looking for a quiet place to edit, from sept 5th - any leads welcome!!
(working on my laptop  can bring table)
cheers moira

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[Frameworks] 2K / 4K in NY (or thereabouts)?

[ev petrol]

Hey folks
who are youse using for 2K or 4K scans these days?
got a great one done a few years ago on a kinetta at asimages in paris, looking 
for something similiar
(have super 8mm  16mm footage to scan - some of the houses here had fierce 
problems with the super 8 splices; it wasn't till I got to as'images that i got 
a useable 4K version)
cheers all round
moira

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[Frameworks] ekta cartridge problem?

[ev petrol]

hey folks
just ran two rolls of ektachrome super 8 through the camera (pretty reliable 
canon autozoom); first one ran through fine; the second one showed no sign of 
getting to the end of the roll, long past the camera footage counter indicated 
it should have run out - if i take the cartridge out, put a sharpie mark on the 
film at the gate, try running the cartridge in the camera and check the gate 
again, the mark is gone, suggesting that the film is running through the camera 
... any clues?  i'm guessing i should probably re-shoot, but if anyone else has 
had this problem and has any tips that would be great (i'll be using ekta again 
for the re-shoot)
cheers all round
moira

moiratierney.net
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[Frameworks] translator available (french to english)

[ev petrol]

hey folks
I'm available for translation work - subtitling and film related texts a 
speciality!have worked for Re:Voir, Cineaste Magazine, New Yorker Video ... can 
pass a cv on to anyone interested
(we're in full loft law mode in my building, galloping bills, have to find some 
more beans to toss into the pot ...)cheers! moira moiratierney.net
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[Frameworks] room-mate / sublet situation with steenbeck coming up in brooklyn (may/june)

[ev petrol]

hey folksi'll be looking for a room-mate / subletter in may/june ( maybe 
longer tbc)
big loft in dumbo with a working steenbeck, projectors cprobably better for 
someone with a 9 to 5, there's a building site across the road that can get 
loudget in touch for details /or pass it on!
cheers moira moiratierney.net
vimeo.com/moiratierney
 


 On Thursday, March 19, 2015 10:38 AM, Amanda Christie 
ama...@amandadawnchristie.ca wrote:
   

 I'm glad to see that my tax dollars at least preserve this equipment at the 
National Archives... even if it's mostly archiving commercial stuff at the 
moment, I am still optimistic that with some advocacy and lobbying, we can put 
infrastructures in place to encourage the acquisition and preservation of 
independent, experimental and art films.  The Independent Media Arts Alliance 
is currently looking into this.
Just the fact that this equipment is preserved and running and maintained 
somewhere is so important.I posted a few photos of their equipment on my 
twitter feed if any of you want to see some photos, my handle is: 
@magnet_mountain
A few years ago, as commercial labs were sending much of this stuff away for 
scrap metal... I really felt that it was important for artist run centres and 
film-co-ops to maintain this gear (especially the larger stuff), even if it 
didn't get a high volume of use by members... because individual artists aren't 
likely to be able to house a 35mm optical printer or animation stand in their 
studio... so for artists who use this equipment, they need to be able to find 
it and access it somewhere... even if this equipment doesn't get high volume 
use... once it disappears, it will be zero-volume use. Sadly now though, there 
seems to be a trend of centres getting rid of stuff that doesn't get a lot of 
use, in favour of newer equipment that gets rented more often.  I totally 
understand the logic from an administration side... but it does mean that 
artists working in these processes have to look harder and travel farther to 
find specialized equipment... and because much of this stuff is not 
manufactured any more... and because after being sold several times... much of 
it is eventually sold for scrap metal because it takes up precious space... 
some of these things are becoming like endangered species, and as they become 
more rare, we find ourselves dealing with endangered art practices.
So, I'm glad that there is a solid set of equipment at the National archives 
being preserved and maintained in working order... (even if it's mostly 
archiving commercial work now, at least it's in working order and being 
maintained).
I just wish it was easier for artist run centres and film co-ops to also have 
the resources (money, space, etc) to maintain this equipment as well for 
artists who wish to access and use them to make new work.  It's not easy for 
the centres and co-ops.  They have a lot of challenges.
So, I'm raising my cup of coffee in a toast to all you diligent workers and 
advocates at centres, labs, and co-ops around the world, keeping equipment like 
this alive and running and accessible to artists.  Thank you!Your job is not 
always easy, but it is important and appreciated.  This morning cup of coffee 
toast is for you!  Cheers.
xoadc


On 2015-03-18, at 11:36 AM, Nicholas Kovats wrote:

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 

[Frameworks] room to rent in brooklyn with steenbeck access

[ev petrol]

hey folkstim white has a room to rent, with steenbeck access, see info 
belowcc'ing him here - email him for more details! 
cheers all round, moira

2BR space inBed-Stuy, $825/month, beginning March 1 or April 1 that includes 
achance to share use of a steenbeckcontact: white@hotmail.com 

  moiratierney.net
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[Frameworks] halogen fixtures and light bulbs up for grabs (brooklyn)

[ev petrol]

hey folksmy neighbour is getting rid of these, hit him up if you want them(he's 
also getting rid of a  very tall ladder, not listed)
cheers moira
http://newyork.craigslist.org/brk/hsh/4877749372.html moiratierney.net
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Re: [Frameworks] mov files from avid (pc) for quicktime projection (mac)

[ev petrol]

thanks loads for the tips folks!
the H264 playback issue makes sense
i did some test exports to DV-DVCPRO-NTSC in the meantime (following another 
friend's advice), progressive  with deinterlacing
 they played back aok on the mac, in quicktime, with no interlacing
I'll give H264 a lash as well
much appreciated!
cheers moira

 
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On Wednesday, July 16, 2014 2:50 AM, Douglas eastshorefi...@hotmail.com wrote:
 


Try playing your files on VLC player, it's freeware and may work just fine. I 
wouldn't recommend h.264 since it's heavily compressed. 

dK





 On Jul 15, 2014, at 5:52 PM, Dave Tetzlaff djte...@gmail.com wrote:
 
 I'm not an Avid expert, but I know they typically use proprietary codecs. 
 What container were they in? AVI? 
 
 If QT can't play the files, that could either be an issue with the codec per 
 se, or your Mac not being equipped with the extra widgets needed to handle 
 the headers of PC-based containers.
 
 All H.264 encoding software is not created equal. Use x264, which is freeware 
 available as a stand-alone plug-in that works with stuff like MPEG 
 Streamclip, and also comes built-in with recent versions of Handbrake (also 
 freeware). There are more tweaks available in the interface than Carter has 
 pills. I've never had any odd color or contrast problems using the presets 
 (since the individual setting parameters are mostly WAY over my head), but if 
 you did get results you don't like, you could probably find a setting that 
 would do the trick if you got under the hood far enough.
 
 Anyway, as Aaron said, the problem may be the playback software, not the 
 files you've generated themselves. I agree with Aaron that H.264 is usually 
 the best thing to send out, if only due to file size. For shorter pieces, I'd 
 use ProRes if the venue accepts it. For the H.264, I recommend putting it in 
 an .mp4 container, as that's more universal than .mov .avi .mkv etc. etc.
 
 
 tested some mov files today (exported 'same as source' from avid 3.0 on a 
 pc) on a mac, quicktime wouldn't open them  vlc played them back 
 deinterlaced ( with a green line at the top, in one case)
 any ideas what's up?
 
 i've tried H264 exports but the colours/contrast get washed out, so i'm 
 avoiding that option; thought that 'same as source' would be better than any 
 form of compression ...?
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[Frameworks] mov files from avid (pc) for quicktime projection (mac)

[ev petrol]

hey folks

tested some mov files today (exported 'same as source' from avid 3.0 on a pc) 
on a mac, quicktime wouldn't open them  vlc played them back deinterlaced ( 
with a green line at the top, in one case)
any ideas what's up?

(cue bad jokes about 'mov'ing targets or 'mov'ing goalposts ...)

i've tried H264 exports but the colours/contrast get washed out, so i'm 
avoiding that option; thought that 'same as source' would be better than any 
form of compression ...?


cheers all round
moira

 
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[Frameworks] construction blues

[ev petrol]

hey folks


there's
 a longterm construction project just getting underway outside my window
 (jackhammers mon-fri 8am to 4pm)  i'm on the hunt for a 
quiet spot to work (short term or longterm) or perhaps sublet, if i rent
 my place to a 9 to 5er 

if you have any tips, or know of anyone looking for a summer house-sitter, any 
 all leads gratefully received!


one of the things keeping me busy is this 

https://www.facebook.com/events/887351334615181/?ref=22

all welcome, will be a mixsome gathering of old  new flix (including a sample 
of the current new orleans project)

cheers all round!
moira
 
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Re: [Frameworks] removing dust marks on transfer

[ev petrol]

thanks for all the info folks! very useful, will try dave's technique
cheers moira

 
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On Friday, June 27, 2014 8:06 AM, Roger Wilson rogerdwil...@sympatico.ca 
wrote:
 


Thanks Dave. I will pass this on to the editor.



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. 


 From: djte...@gmail.com
 Date: Thu, 26 Jun 2014 17:42:29 -0700
 To: frameworks@jonasmekasfilms.com
 Subject: Re: [Frameworks] removing dust marks on transfer
 
  I was thinking it would be an expensive process to remove digitally.
 
 It's not necessarily _monetarily_ expensive. You can do it manually if you 
 can afford the time. Of course, you want as clean a transfer as possible, but 
 there are still likely to be some big nasty dust spot every X number of 
 frames.
 
 The trick to manual dust removal is that your spot is only on one frame while 
 the image likely persists over several frames. 
 
 1. So you put the film in a timeline in FCP or Premiere or whatever in two 
 layered tracks. 
 
 2. The top is the copy-to-be-repaired and the bottom os the patch. 
 
 3. Offset the bottom track/layer a couple frames in either direction.
 
 4. Make a four-point garbage matte around the first dust spot, applying a lot 
 of smoothing to the outline and a lot of feather to the edge.
 
 5. Voila. The frame below should now fill in the dust spot.
 
 6. Copy the matte, paste it into the other frames with dust spots, and move 
 it over the spots. (This is easier than drawing a new matte). Frames with 
 more than one spot need more than one matte.
 
 7. Review each filled spot. Most will probably look OK as the part of the 
 patch frame peeking through will be similar to the hole in the repaired 
 frame. Where the camera or subject have moved enough, though, there will be 
 no match and the patched hole will as obvious as the original spot. So we 
 need to get a proper fill under the hole:
 
A. Cut and trim the video in the patch track, so you can move this 
 particular patch frame around without messing up any others.
B. An appropriate fill area is likely to be available either in some other 
 part of the patch frame, or a on a frame offset in the other direction - i.e. 
 if your patch track is +2 frames offset from the main track, a frame at -1 
 offset might work. 
C. To save time you'll prefer to do one or the other: 1) offset the XY 
 center of the existing patch frame,  2) try a different patch frame a few 
 frames away, but not both unless it's absolutely necessary.
 
 8. of course, you only want to perform this operation on frames that are for 
 sure going to be in the finished film, so it comes after you have a tight 
 edit (but before you do any slo motion effects in software...)
 
 ...
 
 Yes, I've done this for a half-hour film. Yes, it was incredibly tedious. 
 Yes, it took a very long time. Yes, it took several passes because I kept 
 finding spots I'd missed on the previous pass. Yes, the results were worth 
 it. In this case anyway.
 
 As Jeff noted I think only half-jokingly, a certain amount of imperfections 
 can be part of a filmic aesthetic. It all depends on material and purpose. 
 Sometimes you'll want a little dust, sometimes it won't matter, sometimes you 
 need the frame to be really clean to preserve the fragile poetics of a shot. 
 So when I say my labor was worth it, that's contextualized by how much 
 clean-frame-vs.-dusty-frame mattered in terms of the aesthetics of the 
 particular work at hand. YMMV.
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Re: [Frameworks] digital hair in the gate removal?

[ev petrol]

thank you gentlemen! very useful info

 
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On Friday, June 20, 2014 5:34 PM, J Vent jvent.subscripti...@gmail.com wrote:
 


...And as stated by Michael, the AE paint tool is very useful, especially when 
combined with the wire removal tool.

JV



On Fri, Jun 20, 2014 at 2:31 PM, J Vent jvent.subscripti...@gmail.com wrote:

Photoshop is sure fire but laborious. Try the wire removal tool in after 
effects, we have had some success with that, you just have to do little bits at 
a time. as it works best with straight segments. its at least a way to minimize 
the work in photo shop. In photoshop use healing brush, clone brush and spot 
healing brush as needed - frame by frame. Photoshop does allow video now, but 
for really precise work we have found that making an image sequence and then 
going in frame by frame with those tools gives the best result.


Try AE Wire removal tool first though its often enough.


JV
Trans-Temporal Constant Films
Los Angeles



On Tue, Jun 10, 2014 at 9:17 AM, Dominic Angerame dominic.anger...@gmail.com 
wrote:

Hair is gate is mostly caused by a dirty aperture when filming or transfering, 
depending on how transfer was done. The orig film should show the hair. The 
old saying hair today hair tomorrow.

Dominic




On Mon, Jun 9, 2014 at 6:20 PM, Jeff Kreines j...@kinetta.com wrote:

Is the hair in the gate of the original film, or in a badly-done telecine?


Software for getting rid of dirt and dust doesn’t work with artifacts that 
don’t move.  Your only choice — it it’s in the film — is to crop the image 
or live with it.  If it’s in the telecine transfer, have it redone.




On Jun 9, 2014, at 8:03 PM, ev petrol epetr...@yahoo.com wrote:

any tips on software/plugins that might remove a hair in the gate? (from a 
HD telecine of super 8 footage)

cheers all round 

moira

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



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[Frameworks] super 8 16mm splice tape (new york)

[ev petrol]

hey folks
where's the best place to get splice tape these days? (i'm guessing it might be 
an online order ...)
cheers moira

 
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[Frameworks] digital hair in the gate removal?

[ev petrol]

any tips on software/plugins that might remove a hair in the gate? (from a HD 
telecine of super 8 footage)

cheers all round 

moira

 
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Re: [Frameworks] digital hair in the gate removal?

[ev petrol]

thanks gents!
it's a big ol' hair in the gate of my camera (not the fault of the telecine) 
... i'm probably stuck with it so?
cheers moira

 
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On Monday, June 9, 2014 11:54 PM, Michael Betancourt 
hinterland.mov...@gmail.com wrote:
 


If it isn't an overall issue of serious dirt, or redoing the transfer isn't a 
possibility for whatever reason, you can draw it out carefully frame-by-frame 
in several ways. The simplest is to convert all your frames into stills and do 
it with Adobe Photoshop (even though this is a brute-force method, it offers 
the most perfect result), or you can use the paint technique in AfterEffects 
which allows a certain amount of easy repeat from frame to frame. Depends on 
how much time, money and labor you want to put towards fixing the problem.

Generally, if redoing the transfer is a possibility, you should do that. If it 
isn't, the only method that will produce high quality results is some variant 
of frame-by-frame retouching.



Michael Betancourt
Savannah, GA USA


michaelbetancourt.com
twitter.com/cinegraphic | vimeo.com/cinegraphic
www.cinegraphic.net | the avant-garde film  video blog



On Mon, Jun 9, 2014 at 10:28 PM, Scott Dorsey klu...@panix.com wrote:

If there was so much filth that there was a visible hair in the gate,
I'd take it back to the telecine guy and yell at him.
--scott

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Re: [Frameworks] would you send unexposed film by us mail to europe?

[ev petrol]

thanks lads for the advice!!
would bring it with me if i was travelling, won't be for a while though, will 
mull over your suggestions
cheers! moira


 
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On Saturday, February 1, 2014 10:35 AM, Marco Poloni mar.pol...@gmail.com 
wrote:
 
Isaac is right about motion picture film. You might end up in a hand
inspection siuation for the very simple reason that a motion picture
film can, contrarily to a still photography roll, contain a knife
(16mm) or a gun (35mm). So make sure your film is packaged in its
original light-tight plastic inside the can in case an operator asks
to open the can.
M

On 1 February 2014 17:28, Isaac Brooks isaacbrook...@gmail.com wrote:
 No, I've never mentioned it. I have always been afraid of the package being
 held up due to its uniqueness. Probably a risky idea.

 I'll say again, that precautions are justifiable, and that Marco's previous
 comment about the overseas scanning is correct when it comes to the mail.
 I've often just taken film with me as carry on, as those machines subject
 the film to less. But motion picture film is supposedly more prone to harm,
 and if you are going through more than one security checkpoint, you may want
 to ask them to hand inspect it.


 On Saturday, February 1, 2014, Roshanak Elmendorf roshana...@optonline.net
 wrote:

 Hi Isaac,
 When you use FedEx do you( is it necessary to) mention unexposed film and
 do you request special handling?

 On Feb 1, 2014, at 10:06 AM, Isaac Brooks isaacbrook...@gmail.com wrote:

 Moira,

 I've received and sent both unexposed and exposed film quite a few times
 through the mail, more usually domestically as opposed to overseas, but I
 have never once had a problem with either x-rays or handling. I think both
 Francisco and Marco are in good practice however, as they're encouraging you
 to protect your materials from the inconsistent stuff that happens from one
 place to another.

 That said, I have had film go through the x ray machines at airport
 security a lot, and practically all the film I have received is the mail,
 or, I am willing to bet, was mailed at some point. Regarding the service
 used, I'd actually trust FedEx over USPS + another postal service ANY day of
 the week. Better tracking, better handling, less multiple carriers, faster,
 but certainly a bit more $. But not worse in terms of handling or reliable
 delivery. Just insure it for the max.

 I say perhaps mail some, and bring some with you personally. If anyone's
 traveling with you, beg them to bring some too. Bring a dummy can/roll to
 show airport people what you are carrying. Also, have a plan to protect your
 exposed stock even more, as that's the priceless entity. I'd say that's your
 bigger issue actually, unless you'll be processing somewhere over there.
 Good luck,

 Isaac

 On Saturday, February 1, 2014, Marco Poloni mar.pol...@gmail.com wrote:

 i would never ever send unexposed film through the mail. it's against
 all safety rules in filmmaking practice. how would you really know
 it's not going to be exposed to x-rays, even if you're told so by the
 people at the counter? how do they know what the guys at some remote
 airport or facility really do? not to mention mishandling, as
 Francisco points out.
 Marco

 On 31 January 2014 21:12, Francisco Torres fjtorre...@gmail.com wrote:
  Maybe by a courier service, never through fedex or HDL I have heard
  horror stories of missing film. X rays may be a minor risk compared to
  misplaced negative.
 
 
  On Fri, Jan 31, 2014 at 3:29 PM, ev petrol epetr...@yahoo.com wrote:
 
  hey folks
  wondering if it's safe to use the US postal service (in terms of
  x-rays 
  the like) for sending unexposed film from the US to Ireland ...? Any
  advice?
  thanks! Moira
 
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 --

 A brave flat world.


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 d - 13355 berlin
 gsm de +49.163.6294080
 gsm ch +41.78.6322028
 skype marcopoloni
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 roshana...@optonline.net
 roshanakelmendorf.com



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-- 

A brave flat world.


marco poloni
usedomer strasse 8
d - 13355 berlin
gsm de

[Frameworks] would you send unexposed film by us mail to europe?

[ev petrol]

hey folks
wondering if it's safe to use the US postal service (in terms of x-rays  the 
like) for sending unexposed film from the US to Ireland ...? Any advice?
thanks! Moira
 
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[Frameworks] sending film from the us to europe via usps

[ev petrol]

whatcha reckon folks, is it a good idea?
wondering what kind of x-rays they use ... seems like airmail is the only 
option these days
cheers moira

 
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[Frameworks] new orleans connections

[ev petrol]

hey folks!
I'm in new orleans for 2 months (doing a screening at zeitgeist in march) in 
case there's anyone on the list around these parts
 i'm looking for a sublet here, in case anyone gets wind of anything (the 
place i had lined up turns out to be under construction ...)
cheers all round!
moira
 
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[Frameworks] HD cam 24 vs 25? vs DCP?

[ev petrol]

hey folks

I'm outputting a film to HD cam  have the option of doing it at 24fps (the 
project itself is 24fps) or 25fps (I'm making digibetas as well, so the 
framerate conversion is happening anyway) - any thoughts on which would be more 
useful?

there's also a DCP option, more expensive but I'm wondering would it be worth 
it? or is that just going to cause compatibility problems with different 
servers / platforms c? 

would be grateful for any thoughts on the matter
cheers! Moira
 
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Re: [Frameworks] HD cam 24 vs 25? vs DCP?

[ev petrol]

thanks loads folks for all the feedback!!

this is a project that originated on super-8mm (18fps)
I did a 4K scan 
then imported into avid as DNxHD 175X MXF 
(the highest resolution I could get to play back on my laptop)
did all the conforming (stabilize, resize, timewarp, colour timing)

 exported same as source (avid DNxHD
1920x1080 / 24fps)
I have to make a digibeta  the DVDs (= what the funders asked for)

would it make sense to make a HD ProRes file  a Blu-Ray disc, instead of the 
HD cam, for screening purposes? (sounds like HD cam might not be very useful?)

I think the 2K is beyond the capacity of my laptop for the moment, but ideally, 
in the future, I might be able to conform the 4K to the current version ... 
would be lovely to get it onto 35mm at some point

cheers! Moira


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On Thursday, December 12, 2013 9:33 PM, Aaron F. Ross 
aa...@digitalartsguild.com wrote:
 
I want to reiterate that the ProRes codec is lossy. ProRes  is 
the best, it's full 4:4:4 color sampling and can optionally preserve 
RGB color space if you're working with graphics. But if you're 
looking for a truly lossless mastering format, the best option is 
still Quicktime Animation at 100% quality. /// Aaron 
///





At 12/12/2013, you wrote:
I agree. HDCam-SR is a preferable tape master (but expensive to read 
from because only big labs have the players). A ProRes file is 
definitely more useful to work with, though a physical tape master 
is reassuring to have. 24PFS is the most compatible framerate for 
film original and HD projection including DCP. If you then make a 
downconverted SD version on beta or as an SD file then 25fps is the 
standard for that version. Watch out for DCP - this is an encoded 
file package like a DVD and certainly not a master element. It 
cannot be accessed or copied. It cannot even be read from in real 
time - it has to be ingested into the server. It is only useful for 
screenings in cinemas that are equipped. You are right to worry 
about servers and platforms - some DCPs don't play on all systems. 
But DCP has become the Hollywood standard to replace release prints. 
It is handy to have available for potential screenings an HD ProRes 
file, a Blu-Ray disc, and/or a DCP, an SD file, a beta, a DVD... But 
for preservation, archiving and future compatibility,the best master 
now is a 2K file, either in DPX or ProRes 4:4:4 or as tiff images. 
Down the road you will be able to convert that into anything you 
will need and you could even make a 35mm negative from it, which is 
the best solution of course. -Pip At 16:28 -0800 12/12/13, David 
Tetzlaff wrote: I'd recommend getting your film transferred to the 
highest quality codec available, then converting it to whatever you 
need on your own (or a friend's) computer (if you don't have a 
Mac).  HD-CAM IS NOT FULL 1080P RESOLUTION! It's a now 
technologically obsolete tape format that uses an anamorphic frame 
to get within the recording bandwidth of the 
tape apparatus.  You'll want your film outputted to a file on a 
hard-drive regardless, not to any form of tape. If the transfer 
service can't do that, f**k 'em, and find someone who 
can.  Assuming you have access to a Mac, I'd recommend ProRes 
4:4:4. Not that you'd ever send it out in that, but as a 
'best-quality' master. I assume DCP would be better (??) but I 
don't know of any software you could use to downconvert it.  If 
it's shot at 24fps, get it transferred at 24fps. If you need 
to send it out to PAL-land, they might have 24fps capability... And 
if they don't, you can do the 24-25 conversion yourself in 
software. That way you have the option of doing a 1frame=1frame 
conversion so every frame remains intact but it just runs a little 
faster, or you can do a transfer that preserves the running time, 
and uses some algorithm to blend frames to make up the difference. 
If you're using something like Apple Compressor to do that (24-25), 
there are lots of different settings you can manipulate to make 
sure you get the best possible quality, and it will take days to 
render as a result. So again, you'd want to only do this once, and 
use your 24fps master to create a 25fps 'master' in the best codec 
available, from which you would then create whatever 25fps 
distribution versions you would need...  
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---

Aaron F. Ross
Digital Arts Guild 

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Re: [Frameworks] HD cam 24 vs 25? vs DCP?

[ev petrol]

( sorry for the multiple messages, yahoo glitch ...)
 
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On Friday, December 13, 2013 12:34 AM, ev petrol epetr...@yahoo.com wrote:
 
thanks loads folks for all the feedback!!

this is a project that originated on super-8mm (18fps)
I did a 4K scan 
then imported into avid as DNxHD 175X MXF 
(the highest resolution I could get to play back on my laptop)
did all the conforming (stabilize, resize, timewarp, colour timing)

 exported same as source (avid DNxHD
1920x1080 / 24fps)
I have to make a digibeta  the DVDs (= what the funders asked for)

would it make sense to make a HD ProRes file  a Blu-Ray disc, instead of the 
HD cam, for screening purposes? (sounds like HD cam might not be very useful?)

I think the 2K is beyond the capacity of my laptop for the moment, but ideally, 
in the future, I might be able to conform the 4K to the current version ... 
would be lovely to get it onto 35mm at some point

cheers! Moira


moiratierney.net
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On Thursday, December 12, 2013 9:33 PM, Aaron F. Ross 
aa...@digitalartsguild.com wrote:
 
I want to reiterate that the ProRes codec is lossy. ProRes  is 
the best, it's full 4:4:4 color sampling and can optionally preserve 
RGB color space if you're working with graphics. But if you're 
looking for a truly lossless mastering format, the best option is 
still Quicktime Animation at 100% quality. /// Aaron 
///





At 12/12/2013, you wrote:
I agree. HDCam-SR is
 a preferable tape master (but expensive to read 
from because only big labs have the players). A ProRes file is 
definitely more useful to work with, though a physical tape master 
is reassuring to have. 24PFS is the most compatible framerate for 
film original and HD projection including DCP. If you then make a 
downconverted SD version on beta or as an SD file then 25fps is the 
standard for that version. Watch out for DCP - this is an encoded 
file package like a DVD and certainly not a master element. It 
cannot be accessed or copied. It cannot even be read from in real 
time - it has to be ingested into the server. It is only useful for 
screenings in cinemas that are equipped. You are right to worry 
about servers and platforms -
 some DCPs don't play on all systems. 
But DCP has become the Hollywood standard to replace release prints. 
It is handy to have available for potential screenings an HD ProRes 
file, a Blu-Ray disc, and/or a DCP, an SD file, a beta, a DVD... But 
for preservation, archiving and future compatibility,the best master 
now is a 2K file, either in DPX or ProRes 4:4:4 or as tiff images. 
Down the road you will be able to convert that into anything you 
will need and you could even make a 35mm negative from it, which is 
the best solution of course. -Pip At 16:28 -0800 12/12/13, David 
Tetzlaff wrote: I'd recommend getting your film transferred to the 
highest quality codec available, then converting it to whatever you 
need on your own
 (or a friend's) computer (if you don't have a 
Mac).  HD-CAM IS NOT FULL 1080P RESOLUTION! It's a now 
technologically obsolete tape format that uses an anamorphic frame 
to get within the recording bandwidth of the 
tape apparatus.  You'll want your film outputted to a file on a 
hard-drive regardless, not to any form of tape. If the transfer 
service can't do that, f**k 'em, and find someone who 
can.  Assuming you have access to a Mac, I'd recommend ProRes 
4:4:4. Not that you'd ever send it out in that, but as a 
'best-quality' master. I assume DCP would be better (??) but I 
don't know of any software you could use to downconvert it.  If 
it's shot at 24fps, get it
 transferred at 24fps. If you need 
to send it out to PAL-land, they might have 24fps capability... And 
if they don't, you can do the 24-25 conversion yourself in 
software. That way you have the option of doing a 1frame=1frame 
conversion so every frame remains intact but it just runs a little 
faster, or you can do a transfer that preserves the running time, 
and uses some algorithm to blend frames to make up the difference. 
If you're using something like Apple Compressor to do that (24-25), 
there are lots of different settings you can manipulate to make 
sure you get the best possible quality, and it will take days to 
render as a result. So again, you'd want to only do this once, and 
use
 your 24fps master to create a 25fps 'master' in the best codec 
available, from which you would then create whatever 25fps 
distribution versions you would need...  
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[Frameworks] brooklyn sublet comin up

[ev petrol]

hey folks!

i'm looking for a subletter from jan 15th to march 14th:

large loft in Dumbo, Brooklyn, under the Manhattan bridge, one
stop on the F train to Manhattan (York Street stop):
bedroom + mezzanine (accessed by ladder), large living room,
wireless internet, bathroom with shower  toilet, basic kitchen, 
roof access (great
view of the city across the East River as well as the Brooklyn,
Manhattan  Williamsburg bridges), 6th floor, freight elevator
(although I usually use the stairs); $1257/month (incl wifi) + utilities (ie 
electricity - my bill is usually 40 or so a month), one month 
deposit

working steenbeck, 16mm projectors, rewinds c


feel free to pass this on to any reliable people who might be interested

 let me know if you need any more info (pix c)


cheers all round
Moira
 
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Re: [Frameworks] 16mm matchback - avid - add keycode?

[ev petrol]

hey folks
finally worked it out ... i'm using avid MC3

i had to:
open a new project in avid  choose 'film 16mm' format
import the master clip  split it into 8 subclips, each of which corresponded 
to a roll of neg (the master clip = a telecine of 8 rolls of 16mm neg)
check the key numbers on the actual neg
punch the head  tail key numbers for each roll into the aux ink columns for 
each subclip (in the avid bin)
do a rough cut with the subclips
open filmscribe  import the sequence
 after that it was easy to export an assembly list in filmscribe (just had to 
make sure that filmscribe was also set to 16mm)

i'm getting a workprint of two of the rolls though, to test the assembly list  
make sure the numbers match ...

cheers moira

 
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On Saturday, October 26, 2013 3:12 PM, Will Erokan willieben...@gmail.com 
wrote:
 
Which AVID are you using? Are key numbers the same as Ink Numbers?



On Sat, Oct 26, 2013 at 9:50 AM, Francisco Torres fjtorre...@gmail.com wrote:

Yes, the transfer to video has to has K#s encoded to be able to create a cut 
list



On Fri, Oct 25, 2013 at 1:44 PM, chris bravo iamdir...@gmail.com wrote:

not experienced with doing this, but I wonder if you put the correct timecode 
on the master clip with cinema tools (or something), then relinked the master 
file in avid to the new clip, it would automatically load the new timecode 
info. what makes me think this is not going to work is that there are 8 rolls 
in the one file, so the code is going to jump around...


maybe a crappy solution would be to lay multiple timecode generators over the 
master clip in avid, and try to get that to distribute through the subclips? 
you aren't going to get an edl, but you will be able to scrub through the 
edit and read the keycode off the screen



On Fri, Oct 25, 2013 at 1:27 PM, Isaac Brooks isaacbrook...@gmail.com wrote:

Hi, 


This was awhile ago, but I used a flex file that came with the transfer of 
my material, which had a keycode burn in. I believe this was Media Composer 
5 in about 2010. 

Not to ask the obvious, but do your dailies actually include keycode running 
along with the video? Feel free to message me off list if I can help - I 
confirmed a negative from a Media Composer 5 edit that same year. Since then 
I have not edited that way, as Avid isn't supported here where I work. 


IB



On Thursday, October 24, 2013, Francisco Torres  wrote:

There used to be a version of the Avid Software called Film composer, it had 
the capacity to handle K#s. All other Media composers COULD not do that. 
Since then it seems other versions could handle film cut lists through film 
scribe-
This may help-


http://my.safaribooksonline.com/book/video/9780240804705/chapter-7-editing-film-on-avid-nles-with-filmscribe/pg_90_40_html




On Thu, Oct 24, 2013 at 4:14 PM, ev petrol epetr...@yahoo.com wrote:

hey folks

i'm trying to figure out how to matchback some 16mm neg to an avid edit

I shot 8x100' rolls of 16mm and got video dailies back in one file
I imported that file into avid  it into 8 subclips (one for each 16mm 
100' roll) ... what i'm trying to figure out now is how to add the key 
numbers to each subclip - any tips?

i've tried going into the bin  adding them there, but avid won't let me 
type into the appropriate column (i added the column for end key code)

cheers! moira
 
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[Frameworks] 16mm matchback - avid - add keycode?

[ev petrol]

hey folks

i'm trying to figure out how to matchback some 16mm neg to an avid edit

I shot 8x100' rolls of 16mm and got video dailies back in one file
I imported that file into avid  it into 8 subclips (one for each 16mm 100' 
roll) ... what i'm trying to figure out now is how to add the key numbers to 
each subclip - any tips?

i've tried going into the bin  adding them there, but avid won't let me type 
into the appropriate column (i added the column for end key code)

cheers! moira
 
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[Frameworks] b/w prints new york

[ev petrol]

metropolis send their stuff out to technicolour though, don't they?

 
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 From: Pip Chodorov framewo...@re-voir.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com 
Sent: Wednesday, September 25, 2013 12:02 PM
Subject: Re: [Frameworks] price increase on all Kodak B/W film
 


Re: [Frameworks] price increase on all Kodak B/W
film
I can recommend Metropolis on West 30th street. Tel:
212-563-9388


At 11:57 -0400 25/09/13, Jim Jennings wrote:
 

CAN ANYONE RECOMMEND A LAB IN NYC THAT
CAN MAKE B@W PRINT

FROM AN ORGINAL NEGATIVE


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[Frameworks] conforming workflow (aka hell)

[ev petrol]

hey folks!

i have a super 8 scan that jumps at all the splices (good splices, mind you)  
i'm wrecking my head trying to figure out how to proceed; i'm using avid mc3 
(my laptop is too old for davinci) - any helpful tips would be very welcome!

my main problem is that i can't accumulate effects, some of them cancel each 
other out (ie i'd have to do a mixdown before applying the next one, adding an 
extra layer of work - i have to isolate the areas around the jumping splices 
each time ...)

i have to:
stabilize the image - using the perfs (it's an overscan) seems the best way to 
go, but i'd have to isolate all the places around the splices where the perf 
jumps


correct the speed (footage shot at 18fps, scanned at 24fps) - have tried with 
timewarp fluid motion render option - looks best, but again i have to isolate 
any flares, jumps, cuts c, fluid motion can't handle them (tried frame 
duplication but it looks jerky)

resize  crop (this is the easy bit, as long as the other stuff is out of the 
way ...)

colour correct (easy as well, once the other shit is sorted out)

it's becoming a bit of a sisyphean task, each time i think i've worked it out a 
new problem arises ...
if there's an editor in NY with experience in this kind of thing, who'd be up 
for taking a look, i'd be supremely grateful!

cheers moira
 
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Re: [Frameworks] Mexican Experimental Film/Video

[ev petrol]

hey Jesse I think Txema Novelo should have some hookups
https://vimeo.com/txemanovelo
there's also a volume of wide angle dedicated to superocheros (vol 21 no 3)
cheers Moira


 
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 From: Jesse Pires jessepire...@gmail.com
To: frameworks@jonasmekasfilms.com 
Sent: Wednesday, September 11, 2013 11:57 AM
Subject: [Frameworks] Mexican Experimental Film/Video
 


Hello Frameworkers, I'm searching for information/resources about Mexican 
experimental cinema (both historical and contemporary). I already have the 
fantastic Mexperimental Cinema by Rita Gonzalez and Jesse Lerner and I would 
love some more suggestions. Thanks.

Jesse Pires
Program Curator
International House Philadelphia

3701 CHESTNUT STREET | PHILADELPHIA, PA 19104
phone: 215.895.6546 fax: 215.895.6562
email: je...@ihphilly.org | web: www.ihousephilly.org
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Re: [Frameworks] duall telecine?

[ev petrol]

projectors seem to handle splices better though ... got a kinetta scan in paris 
 it jumps at all the splices (good ones, for the record, made with an italian 
guillotine splicer); makes conforming tough going ...


 
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 From: Steven ste...@gladstonefilms.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com 
Sent: Sunday, September 1, 2013 2:06 PM
Subject: Re: [Frameworks] duall telecine?
 


I have to check the Memoriav Dissier, but I did find it interesting to see the 
strange pattern in the pants of the person at the right side of the frame in 
the first image. It seemed to get worse with the rough grade.


-- 
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

On 9/1/13 12:51 AM, Jeff Kreines wrote:



On Aug 31, 2013, at 11:06 PM, ev petrol epetr...@yahoo.com wrote:

has anyone tried duall for super 8 telecines? 



Moira:


It's a projector-based system, and HD is the highest resolution.


To see why HD is not enough resolution for HD, look at this, especially the 
second-to-last page:


http://dl.dropboxusercontent.com/u/28462740/Memoriav Dossier -- a response - 
2012.pdf



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

-- 
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] duall telecine?

[ev petrol]

has anyone tried duall for super 8 telecines? 

 
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[Frameworks] tuning up a super 8 viewer?

[ev petrol]

hey folks

i have one of these
http://www.mondofoto.com/cameras/Goko_G1001.jpg
it's a bit dim  the screen is a bit streaky - tried cleaning it with alcohol 
without much luck
any tips on how to get it gives a brighter image? will try a new bulb but the 
streaks are a bit of a problem

(the mirrors inside look pretty clean  i think the alignment is ok; wasn't 
sure how to get at the stuff under the gate though)

or if anyone's getting rid of something similiar, in good shape, i'd be 
interested
cheers! moira

 
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[Frameworks] video projector in NY?

[ev petrol]

hey folks
my friend Xadim Sylla is looking for a video projector to borrow for a 
screening on aug 26th, any leads? 

he's doing an event for his doc-in-progress, info below
cheers Moira
 
Dear
Friends:

We
would like to cordially invite you to a special event in support of Songs of 
the Ancestors: Stories from the West African Diaspora,
an insightful documentary highlighting the stories of the West
African Diaspora in New York City with a focus on the community of
Griots/musicians that have come to and through New York; their mixing
of traditional and modern in the music they play and the cultural
ramifications, if any, this will have on the future.

This
event will provide a chance for us, the filmmakers, to meet with
members of the community in New York and build capital, both social
and economic, for the finishing stages of this project.  We will also
be debuting an extended video trailer for the documentary.

The
event details:
August
26, 2013
6:30-9
pm
Thompson
Hotel
(60 Thompson Street)
Please
RSVP by sending an email to ev...@palavertree.com or
www.palavertree.com/rsvp.html

We
hope you are able to come to this special event and we look forward
to meeting you.

Thank
you very much for your time and consideration.

Lisa
White
Khadim
Sylla


 
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[Frameworks] slide dupes?

[ev petrol]

hey folks,
a friend of mine (in NY) is looking for somewhere to make dupes of about 40 
35mm slides, any leads?
cheers Moira

 
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[Frameworks] age-fogged 'new' film?

[ev petrol]

hey folks
anyone had a problem with fuji stock recently?
bought some 250D from them about 2 months ago; just got some back from the lab 
and they said it looks age-fogged ( true enough, the grain is pretty 
remarkable); fuji said the stock is about 2 years old but has been in their 
fridges ...
just sent them a sample, waiting to hear back from them, but I was wondering if 
anyone else has had similiar problems?
cheers moira

 
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[Frameworks] double 8mm camera

[ev petrol]

Hey folks
emailing for a friend of mine who recently acquired a bell  howell double 8mm 
camera

looks like the spring is broken or disengaged - the handle you use to wind it 
up (crank?) turns with no resistence - any tips on opening it up to see what's 
going on?

he also has a couple of rolls which may or may not have been exposed - is there 
a way to tell (without sending it to a lab)? 

had thought of checking the perfs/wind but of course there are perfs on both 
sides

any leads for labs / where to get film?
thanks! moira

 
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[Frameworks] camera cleaning?

[ev petrol]

hey folks

was cleaning my canon 814 super 8 lens with lens cleaning liquid  cloth  
looks like the lens coating got scratched (hoping it's not the lens itself); 
any way to remedy this? 

 was checking out my K3 (krasnogorsk 16mm)  there's some dirt/dust specks 
very prominently visible in the viewfinder - doesn't look like it's on lens (or 
so i hope) but i'd like to clean it up - any tips?

thanks! moira

 
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Re: [Frameworks] Optical soundtrack printing

[ev petrol]

Hey Shona
I can recommend Colorlab for any 16mm-related work, have been using them for 
years  they're consistently great, really sound bunch of people as well
cheers Moira


 
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 From: mike rice bacnhe...@gmail.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com 
Sent: Saturday, January 19, 2013 8:05 PM
Subject: Re: [Frameworks] Optical soundtrack printing
 

Shona-  I am the wet-gate contact printer at Colorlab 
(http://www.colorlab.com/). We offer a whole bunch of services, with printing 
16mm optical tracks being one of them. I may not seem like the most objective 
source since I work there, but I used the lab a lot for printing my own work 
before working there, and was always really happy with the results. The lab 
itself is in Maryland but we have offices in New York where you can drop 
anything off/chat ask questions. 

the New York offices are @ 27 W 20th St in Manhattan. Hope you consider 
choosing colorlab!

Mike Rice




On Sun, Jan 20, 2013 at 12:23 AM, carli...@aol.com wrote:

I think Fotokem still does it.





-Original Message-
From: Shona Masarin shonamasa...@hotmail.com
To: frameworks frameworks@jonasmekasfilms.com
Sent: Sat, Jan 19, 2013 12:49 pm
Subject: [Frameworks] Optical soundtrack printing


Hello all, I'm wondering if anyone can recommend a lab that prints 16mm 
optical soundtracks 
in North America? Even better, in NYC... I've never done this before, so I'm 
wondering what would be involved in the 
preparation and work-flow? 
I have a contact printer that enables me to print the optical track separately, 
so I'm considering completing some steps myself to save $$.  Any ideas and 
recommendations would be greatly appreciated! Shona
-
Shona Masarin www.shonamasarin.com http://ghostlinesproject.tumblr.com/Film 
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[Frameworks] 16mm camera packing / stills camera repair?

[ev petrol]

Hey folks

I'm wondering about putting a 16mm camera (K3) in check-in on a flight
the gents at BH said 'just use bubble-wrap'  it should be ok ...

any tips or advice?

 I'm also looking for someone to fix a 35mm stills camera (in NY) - it has a 
light leak, not sure exactly what's causing it

seasonal cheers all round!
Moira

 
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[Frameworks] CIR super-8mm splicer?

[ev petrol]

Hello all
looking for a CIR guillotine splicer for super-8mm, any leads?
cheers Moira

 
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Re: [Frameworks] super 8 repair person nyc - repost request...

[ev petrol]

Abdul Setoun.  cinerepair @ aol.com   917-204-6755
 
moiratierney.net
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 From: r e roeen...@gmail.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com 
Sent: Sunday, December 2, 2012 1:13 PM
Subject: [Frameworks] super 8 repair person nyc - repost request...
 

hi frameworks,

i was searching for a post that was passed around earlier this year about a 
super 8 camera repair person in the nyc area. someone had a great 
recommendation, but i've lost track of it. if anyone knows of the post and can 
link me to it, i'd really appreciate it.

thanks for the help!

-r
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[Frameworks] super 8 splices / transfers

[ev petrol]

Hey folks
I've been running into some problems getting a spliced super 8 film 
transferred; the frameline fluctuates wildly after the splices (in one case 
shifting upwards for the duration of the shot) - has anyone else encountered 
this? Any tips?
cheers all round
Moira

 
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[Frameworks] friend looking for a super 8 camera in NY

[ev petrol]

Hey folks
a friend of mine is looking to acquire a super-8 camera (he's off on a road 
trip soon) - any leads?cheers moira

 
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[Frameworks] single frames online?

[ev petrol]

hey folks
has anyone found a good way to compress a film with a lot of single frames for 
the web?
had a go here, followed the specific vimeo compression suggestions: 
vimeo.com/moiratierney/are-we-there-yet 

but the result is pretty bad (the single frame stuff comes in at 5:15)

cheers moira

 
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[Frameworks] finishing on 35mm vs 16mm vs HD?

[ev petrol]

hey folks
applying for a grant that asks for an exhibition strategy; I'd thought of 
budgeting to finish on 35mm but they suggested that might limit the exhibition 
potential of the film ... have a feeling that might apply to 16mm as well  
maybe I should budget to finish on HD (sigh) if I want to convince them to 
cough up

what do you think? 
cheers moira

 
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[Frameworks] photo lab NY?

[ev petrol]

hey folks just found out today that c-lab on broadway has closed, real pity, 
they did great 35mm develop  printing (stills photos i mean)

any tips on alternatives?
cheers moira

 
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Re: [Frameworks] 8mm resources?

[ev petrol]

thanks folks for the tips! passed them on, much appreciated
cheers moira

 
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vimeo.com/moiratierney




 From: Robbie rahb...@yahoo.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com 
Cc: Experimental Film Discussion List frameworks@jonasmekasfilms.com 
Sent: Friday, August 17, 2012 11:09 AM
Subject: Re: [Frameworks] 8mm resources?
 

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

Sent from my iPod

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


http://www.actioncamerasf.com/motion_picture_supplies.php

This is a reputable source. You just need to find processing. 
http://www.yalefilmandvideo.com will process both b/w neg and possibly 
reversal color www.dwaynesphoto.com will process just reversal color. I 
believe http://www.alphacine.com/ will process b/w reversal as well as color 
reversal.

good luck.


On Thu, Aug 16, 2012 at 8:08 PM, Mike Kartje mkar...@siu.edu wrote:

Literally just pulled my old Brownie off the shelf and was wondering the same 
thing. Anyone tried these folks?

http://www.myoldcamera.com/Regular8mm.html

Looks like they offer film sales and processing.

Mike




On 08/16/2012 08:46 PM, ev petrol wrote:

hey folks
have a friend in new orleans who's got his hands on an 8mm camera and is 
wondering where to get stock / get it developed - any leads?
thanks! moira

 
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[Frameworks] 8mm resources?

[ev petrol]

hey folks
have a friend in new orleans who's got his hands on an 8mm camera and is 
wondering where to get stock / get it developed - any leads?
thanks! moira

 
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[Frameworks] more on the EDL tip (pal video / pal film 1 / pal film 2)

[ev petrol]

guessing there aren't too many avid heads on here ... 
got the EDL sorted out in the end with an old version of xpress pro ( it's old 
EDL manager) fyi
wondering what the difference might be (within said EDL manager) between pal 
video, pal film 1 and pal film 2 ... any ideas?
cheers moira


moiratierney.net
vimeo.com/moiratierney




 From: ev petrol epetr...@yahoo.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com 
Sent: Thursday, July 12, 2012 10:20 PM
Subject: [Frameworks] avid EDL pal/ntsc problem
 

hey folks!
trying to export an EDL for a pal project (I'm using media composer 3.0)  the 
EDL defaults to NTSC, apparently this is an avid bug  the solution is to 
install EDL manager 22.2.1 (http://community.avid.com/forums/t/44115.aspx)

having trouble finding that version to download (couldn't find it on the Avid 
website - maybe I'm not looking right?)  for some reason can't access the 
forum ... any leads?
cheers! Moira

 
moiratierney.net
vimeo.com/moiratierney




 From: Pip Chodorov framewo...@re-voir.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com 
Sent: Wednesday, July 11, 2012 12:24 PM
Subject: [Frameworks] statue of liberty
 
Hi folks,
A film producer in Paris is looking for all knds of images of the 
Statue of Liberty, including the view from the statue, for a TV 
project. If anybody wants to participate or contribute, feel free to 
contact me off list with details and I will forward to her. There 
should be a small budget available for buying rights.
- Pip Chodorov
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[Frameworks] avid EDL pal/ntsc problem

[ev petrol]

hey folks!
trying to export an EDL for a pal project (I'm using media composer 3.0)  the 
EDL defaults to NTSC, apparently this is an avid bug  the solution is to 
install EDL manager 22.2.1 (http://community.avid.com/forums/t/44115.aspx)

having trouble finding that version to download (couldn't find it on the Avid 
website - maybe I'm not looking right?)  for some reason can't access the 
forum ... any leads?
cheers! Moira

 
moiratierney.net
vimeo.com/moiratierney




 From: Pip Chodorov framewo...@re-voir.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com 
Sent: Wednesday, July 11, 2012 12:24 PM
Subject: [Frameworks] statue of liberty
 
Hi folks,
A film producer in Paris is looking for all knds of images of the 
Statue of Liberty, including the view from the statue, for a TV 
project. If anybody wants to participate or contribute, feel free to 
contact me off list with details and I will forward to her. There 
should be a small budget available for buying rights.
- Pip Chodorov
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Re: [Frameworks] 16mm reversal lab(s)?

[ev petrol]

thanks folks!

 
moiratierney.net
vimeo.com/moiratierney




 From: Serge Levchin lestimi...@gmail.com
To: ev petrol epetr...@yahoo.com; Experimental Film Discussion List 
frameworks@jonasmekasfilms.com 
Sent: Monday, July 9, 2012 5:35 PM
Subject: Re: [Frameworks] 16mm reversal lab(s)?
 


surely old pac lab is still processing old tri-x?

as for the difference in the ASA ratng: that would be because BW film is more 
sensitive to the blue part of the spectrum; expose it under tungsten light, and 
you've effectively reduced the sensitivity of your film, all other things being 
equal; to compensate for this you're asked to rate your film at 160 instead of 
200, which would then compel you to open up your aperture about 1/3 of a stop.

regards
s




On Mon, Jul 9, 2012 at 5:04 PM, ev petrol epetr...@yahoo.com wrote:

hey folks!


where are you using for your 16mm reversal these days? 

got the address for yale from colorlab; kodak suggested somewhere in 
plattsburgh (?)


exposed some tri-x at 200ASA (instead of the recommended 160ASA) under a 
halogen tungsten light ... thinking it'll probably be ok (?)
why the difference in recommended exposures btw, anyone have an idea? (since 
there's no added filter suggested for tungsten ... I think?)


cheers Moira

 
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[Frameworks] colorlab NY?

[ev petrol]

anything up with colorlab? (on 20th st)
trying their tel ( the one in maryland) but neither are ringing ... 

cheers moira

 
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Re: [Frameworks] nixers in NY?

[ev petrol]

I'm looking for work myself, that is! none to offer, unfortunately

 
moiratierney.net
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 From: ev petrol epetr...@yahoo.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com 
Sent: Friday, June 15, 2012 10:45 AM
Subject: [Frameworks] nixers in NY?
 

nixer being an irish word for odd jobs of all or any description ... looking 
for something to help pay the rent, all leads welcome (projection  translation 
from french to english the specialities, but up for anthin)
cheers moira

 
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[Frameworks] sublet (with steenbeck) may 29 to june 14

[ev petrol]

hey folks
subletting my loft in brooklyn (dumbo) for the first 2 weeks of june, loadsa 
space, roof access, working steenbeck, projectors c, pass it on!
cheers moira

 
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[Frameworks] 16mm projector on offer

[ev petrol]

Hey folks
the French Institute in NY is going to be getting rid of a 16mm projector soon; 
it's a Norelco FP20 Inflight upright projector with a Xetron XHN lamphouse, 
recently serviced by CTS and reasonably reliable - any takers?
cheers Moira
 
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[Frameworks] super 8 reels in NY?

[ev petrol]

howya folks
looking for 400' reels - any tips?
thanks! moira

 
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[Frameworks] VOBS FLV to AVI converter (PC/ubuntu)?

[ev petrol]

Hey PC (or ubuntu) people
what would you use for decent VOB  FLV conversions to AVI?
(I'm going to try compiling these shorts onto mini-DV, via avid)
cheers! Moira

 
www.moiratierney.net
www.soluscollective.org



 From: ev petrol epetr...@yahoo.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com 
Sent: Monday, May 14, 2012 11:29 AM
Subject: [Frameworks] burning DVDs with different aspect ratios
 

Hey folks!
how would you go about burning a compilation DVD, with a collection of 
different shorts, each with a different aspect ratio?so that they all play back 
correctly from a regular DVD deck?
So far I've tried with Adobe Encore  an Oppo deck but no luck, looks like I'd 
have to change the aspect ratio on the projector for each short
I'm using PC/ubuntu (no mac)
all tips gratefully received!
Moira


 
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[Frameworks] paclab

[ev petrol]

hey folks
stuck with paclab as long as i could, but my last batch came back with chemical 
stains, i'll be using cinelab  duanes from now on
passing it on, for what it's worth! think i'm probably not the first to come to 
this conclusion ...
cheers moira

 
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Re: [Frameworks] US civil rights related films?

[ev petrol]

Thanks gents!!

 
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 From: Adam Hyman a...@lafilmforum.org
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com; Moira 
Tierney epetr...@yahoo.com 
Sent: Tuesday, February 14, 2012 6:44 PM
Subject: Re: [Frameworks] US civil rights related films?
 

Re: [Frameworks] US civil rights related films? 
Also check out California Newsreel for a variety of works.


On 2/14/12 2:17 PM, robert harris lagonab...@rcn.com wrote:


Passin' it On
http://www.docurama.com/docurama/passin-it-on/

Framing the Panthers in Black and White
http://www.vdb.org/node/1691

An important collective of political filmmakers.  The group became Third World 
Newsreel.
Newsreel Films
http://www.newsreel.us/


Regarding MOVE:
A 1978, portapak shot, BW video entitled  The August 8, 1978 Confrontationis 
raw and quite powerful.
The piece captures the essences of that time, that situation,  those 
political tensions with the very particular qualities of image and moment that 
street portapak video could produce.
You can see much of it on Utube.  The folks at MOVE will sell you a copy for a 
modest cost.

http://www.onamove.com/
http://www.archive.org/details/MOVE__DVD


On Feb 13, 2012, at 8:56 PM, ev petrol wrote:


Hey folks
a friend of mine is looking for films about civil rights issues in the US - 
historical or contemporary (eg: the prison industrial system, the school to 
prison pipeline, the justice system, death row, police brutality c c) - for 
a series of screenings in New Orleans
any ideas?
cheers Moira
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Re: [Frameworks] US civil rights related films?

[ev petrol]

thanks for all the great suggestions folks!!
cheers moira

 
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[Frameworks] US civil rights related films?

[ev petrol]

Hey folks
a friend of mine is looking for films about civil rights issues in the US - 
historical or contemporary (eg: the prison industrial system, the school to 
prison pipeline, the justice system, death row, police brutality c c) - for a 
series of screenings in New Orleans
any ideas?
cheers Moira

www.moiratierney.net
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[Frameworks] 100D problem / silicone?

[ev petrol]

any idea where to get pure silicone (as advised in one of the earlier posts)?
cheers moira

 
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 From: Kevin Timmins on-on...@hotmail.com
To: FrameWorks frameworks@jonasmekasfilms.com 
Sent: Wednesday, February 8, 2012 12:49 PM
Subject: Re: [Frameworks] Canon 1014XL-S/ 814XL-S problems with 100D film stock
 

 
This sounds ominous as I did indeed purchase the stock from Turkey in a large 
block to save money in the long run. I will test another cartridge and let you 
know how I get on. The seller on ebay is 'Super 8 dealer' based so I would 
steer clear of stock he might be selling for now. I will test another few 
cartridges in different cameras and see how I get on.

Kevin  




From: kenpaulrosent...@hotmail.com
To: frameworks@jonasmekasfilms.com
Date: Wed, 8 Feb 2012 10:30:12 -0800
Subject: [Frameworks] Canon 1014XL-S/ 814XL-S problems with 100D film stock

 
This issue first cropped up--for me--back in 2000 when I was teaching abroad in 
Singapore for a couple of years. I was purchasing large blocks of super 8 film 
from Europe--all stocks--and was receiving cartridges that had broken spindles, 
or would stop mid-filming wherein the camera would flash the internal 'exposed' 
signal. This was primarily happening with Kodachrome cartridges, years before 
the EK 100D was released. From around 2004 to 2009, my students and I shot 
dozens of EK 100D rolls for for hand processing tests/projects and I don't 
recall a single cartridge issue, though its certainly possible the quality 
control has plummeted. Anyway, when this issue occurred for me, I'd take note 
of how much footage I'd shot, then pop the cartridge out, re-insert and 
continue shooting. Most of the time that worked, but some times it did not.

I strongly suggest giving Marvin a call at Photo Center in LA. He's the man 
when it comes to Super 8 camera issues and may suggest something apart from a 
cartridge specific issue. It's possible that finer cameras, such as the 814 and 
1014XLS are more sensitive to cartridge irregularities.


Ken


www.crookedbeautythefilm.com  (Academic)
www.crookedbeauty.com  (Public)

www.kenpaulrosenthal.com
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Re: [Frameworks] double perf stock needed (Ireland / UK)

[ev petrol]

hey Sarah
if you get stuck let me know, could probably source some for you here in NY
cheers Moira

 
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 From: sarah browne sarahjbro...@yahoo.ie
To: Frameworks Postings frameworks@jonasmekasfilms.com 
Sent: Saturday, January 21, 2012 10:36 AM
Subject: [Frameworks] double perf stock needed (Ireland / UK)
 

Hi everyone,

Anyone have any leads for double perf stock in 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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[Frameworks] and looking for a sublet in new orleans (feb-march)

[ev petrol]

... forgot to say that i'm looking for a sublet in New Orleans myself for the 
same period, in case anyone has any leads
cheers! moira

 
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[Frameworks] 16mm looper on orchard street (bit urgent)

[ev petrol]

hey folks
anyone free to go take a look at a looper on orchard st? or the projector, to 
be precise ... Eiki slotload which has stopped running (we thought it was the 
fuse, but looks like it's not) ... they're opening this pm at 6 so getting a 
bit nervous; their tel is 212-5983012 in case anyone's in the hood (paid gig, 
you could negotiate with them)
cheers moira

 
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www.soluscollective.org



 From: ev petrol epetr...@yahoo.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com 
Sent: Saturday, January 7, 2012 11:11 PM
Subject: [Frameworks] fuses for an eiki slimline slotload in NY
 

Hey all
any tips on where to get 125V 5A fuses (the ones that are about an inch long, 
not the little ones) in NY? a scour of radio shacks, home depot  random 
hardware / lighting suppliers today drew a blank ... any tips on where to find 
them on sunday especially appreciated!
cheers moira

 
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www.soluscollective.org



 

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[Frameworks] fuses for an eiki slimline slotload in NY

[ev petrol]

Hey all
any tips on where to get 125V 5A fuses (the ones that are about an inch long, 
not the little ones) in NY? a scour of radio shacks, home depot  random 
hardware / lighting suppliers today drew a blank ... any tips on where to find 
them on sunday especially appreciated!
cheers moira

 
www.moiratierney.net
www.soluscollective.org


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Re: [Frameworks] Travelogues

[ev petrol]

Hello Adam
this one was shot from the balcony  roof of the hotel i was staying in (i was 
in nouakchott for a week); edit approved by the local film-makers though 
(wanted to make sure i wasn't misrepresenting ...)
http://www.moiratierney.net/nouakchott.htm (very basic info)
what are you compiling the films for?
cheers Moira
 
www.moiratierney.net
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 From: Adam R. Levine ada...@gmail.com
To: Experimental Film Discussion List FrameWorks@jonasmekasfilms.com 
Sent: Thursday, November 10, 2011 12:41 PM
Subject: [Frameworks] Travelogues
 

Hello you,

I am trying to pull together a list of experimental films that either fall 
directly under the category of travelogue or bear witness to travel and 
distance from a point of origin on the part of the filmmaker. These would not 
be so much ethnographic works which are part of a sustained cultural exchange, 
but films made as a result of the filmmaker passing through and acknowledging 
the looming spectre/problem/pleasure of the tourist film. Warren Sonbert, 
perhaps John Smith's The Hotel Diaries? I'm sure there are others...but can 
you name them?

Thanks/Grazie/Kiitos!

ARL
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Re: [Frameworks] NY Filmmakers' Coop

[ev petrol]

hey espe
that's the right email - maybe try giving serra a call?
cheers moira

 
www.moiratierney.net
www.soluscollective.org



From: Esperanza Collado esperanzacolla...@gmail.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Sent: Tuesday, August 30, 2011 7:00 AM
Subject: [Frameworks] NY Filmmakers' Coop


Hello frameworkers,

I am trying to make contact with the Filmmakers' Coop in New York to rent a 
film, but I already sent two emails to get no reply. I wonder if anyone here 
knows if this is normal (!) or could provide a concrete contact email address. 
Im worried about not being able to rent the film I need... The email I've been 
writing to is filmmakersc...@gmail.com - MM Serra, presumably. 

Many thanks,


-- 
Esperanza Collado
- - - - - - - - - - - - - - 

www.esperanzacollado.org


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[Frameworks] ektachrome 100D transport problem?

[ev petrol]

Hey all,
shot some of the new super-8 Ekta over the summer; my camera started slowing 
down  sometimes stopped altogether; got it going again if i fiddled around 
with the batteries, but I was presuming it's some kind of a contact problem ... 
just picked up the film at Paclab though and heard that the Ekta has been 
giving some problems with transport, being a bit on the thick side - anyone 
else have similiar problems?
cheers Moira

 
www.moiratierney.net
www.soluscollective.org



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