Re: [Frameworks] films using the optical printer
I'm a bit late on this thread, but quite a few of my films were done primarily on optical printers. Fallen Flags - various techniques ... edited in camera on the oxberry optical printer using Brian Eno's oblique strategies at every transition to determine effect, technique, and next shot in the edit (image choice and duration)... i saw this film as an improvisation on the optical printer. 3part Harmony: composition in RGB #1 - colour separation 3 passes edited in camera on an oxberry optical printer - this was the opposite of an improvisation on the printer as it was meticulously planned out. Knowledge of Good and Evil - another optical printer improvisation using oblique strategies Mechanical Memory - was done on a JK optical printer Turning was edited in camera and done on a JK optical printer (not many effects though) Amanda Dawn Christie 506-871-2062 www.amandadawnchristie.ca ama...@amandadawnchristie.ca ___ On 2014-08-11, at 9:23 PM, John Woods wrote: John Kneller does great work and IIRC he mainly works with 8mm that he blows up using his own equipment: http://www.cfmdc.org/user/8323 I'll also promote the work of my friend C.J. Brabant, whose colourful 35mm films originated from 8 and 16mm film and he then processed and printed after hours at the Vancouver Technicolor where he worked. All his works are online, my favourite is In Earth http://www.cjbrabant.com/ On Friday, August 8, 2014 4:35:30 PM, Caryn Cline carynycl...@gmail.com wrote: Dear Frameworkers, As always, your collective minds are amazing. Thank you all for your suggestions, lists, curricula, links and insights. I have my work cut out for me to find and screen these films, but that is one of the things I like best. What would I do without you? CC On Wed, Aug 6, 2014 at 9:06 AM, Caryn Cline carynycl...@gmail.com wrote: Dear Frameworkers, If I were going to undertake a series of screenings showcasing optical printer techniques, what work would you recommend? What is the best work for understanding the cinematic potential in optical printing? Are there any texts that could be included? I'm asking for my own enlightenment and to take my own OP work to another level, but I might also try to put together a public screening at some point. Many thanks, as always, for your thoughts and advice. CC -- Caryn Cline Experimental Filmmaker Teacher vimeo.com/carynyc Co-producer cinematographer, Acts of Witness www.actsofwitness.com -- Caryn Cline Experimental Filmmaker Teacher vimeo.com/carynyc Co-producer cinematographer, Acts of Witness www.actsofwitness.com ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] films using the optical printer
It doesn't look like anyone has mentioned Bill Brand's contributions to optical printing: his films, collaborations, his archiving assistance, and his teaching. He's holding a video camera in his homepage image here, but don't met that fool you. http://www.bboptics.com/index.html Warren On Aug 6, 2014, at 12:06 PM, Caryn Cline carynycl...@gmail.com wrote: Dear Frameworkers, If I were going to undertake a series of screenings showcasing optical printer techniques, what work would you recommend? What is the best work for understanding the cinematic potential in optical printing? Are there any texts that could be included? I'm asking for my own enlightenment and to take my own OP work to another level, but I might also try to put together a public screening at some point. Many thanks, as always, for your thoughts and advice. CC -- Caryn Cline Experimental Filmmaker Teacher vimeo.com/carynyc Co-producer cinematographer, Acts of Witness www.actsofwitness.com ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] films using the optical printer
Has anyone mentioned L'Ange (Patrick Bokanowski, 70 min, 1982)? peace, jw On Aug 6, 2014, at 11:06 AM, Caryn Cline carynycl...@gmail.com wrote: Dear Frameworkers, If I were going to undertake a series of screenings showcasing optical printer techniques, what work would you recommend? What is the best work for understanding the cinematic potential in optical printing? Are there any texts that could be included? I'm asking for my own enlightenment and to take my own OP work to another level, but I might also try to put together a public screening at some point. Many thanks, as always, for your thoughts and advice. CC -- Caryn Cline Experimental Filmmaker Teacher vimeo.com/carynyc Co-producer cinematographer, Acts of Witness www.actsofwitness.com ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] films using the optical printer
I second Peter Rose's The Man Who Could Not See Far Enough and Martin Arnold's early films. I'd also suggest my own films Triptych and To the Beach, which was made with a JK for which a friend (Chris Healer) and I wrote our sequencing program. ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] films using the optical printer
Coming late to this. Has anyone mentioned Klaus Wyborny's films? Nicky. -Original Message- From: John Warren johnwar...@alum.calarts.edu To: Experimental Film Discussion List frameworks@jonasmekasfilms.com Sent: Fri, 8 Aug 2014 13:46 Subject: Re: [Frameworks] films using the optical printer Has anyone mentioned L'Ange (Patrick Bokanowski, 70 min, 1982)? peace, jw On Aug 6, 2014, at 11:06 AM, Caryn Cline carynycl...@gmail.com wrote: Dear Frameworkers, If I were going to undertake a series of screenings showcasing optical printer techniques, what work would you recommend? What is the best work for understanding the cinematic potential in optical printing? Are there any texts that could be included? I'm asking for my own enlightenment and to take my own OP work to another level, but I might also try to put together a public screening at some point. Many thanks, as always, for your thoughts and advice. CC -- Caryn Cline Experimental Filmmaker Teacher vimeo.com/carynyc Co-producer cinematographer, Acts of Witness www.actsofwitness.com ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] films using the optical printer
Dear Frameworkers, As always, your collective minds are amazing. Thank you all for your suggestions, lists, curricula, links and insights. I have my work cut out for me to find and screen these films, but that is one of the things I like best. What would I do without you? CC On Wed, Aug 6, 2014 at 9:06 AM, Caryn Cline carynycl...@gmail.com wrote: Dear Frameworkers, If I were going to undertake a series of screenings showcasing optical printer techniques, what work would you recommend? What is the best work for understanding the cinematic potential in optical printing? Are there any texts that could be included? I'm asking for my own enlightenment and to take my own OP work to another level, but I might also try to put together a public screening at some point. Many thanks, as always, for your thoughts and advice. CC -- Caryn Cline Experimental Filmmaker Teacher vimeo.com/carynyc Co-producer cinematographer, *Acts of Witness* www.actsofwitness.com -- Caryn Cline Experimental Filmmaker Teacher vimeo.com/carynyc Co-producer cinematographer, *Acts of Witness* www.actsofwitness.com ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] films using the optical printer
Daïchi Saïto's films, specially Trees of Syntax: Leaves of Axis, Never a Foot Too Far, Even and All That Rises. He has written about his processes in his book Moving the Sleeping Images of Things Towards the Light. El 07/08/2014 04:40, Beebe, Roger W. beebe...@osu.edu escribió: In the same spirit as Mark's post, I wanted to note that Peter Tscherkassky's Cinemascope trilogy is actually contact printed in short stretches (much of it using a laser pointer) rather than optically printed. He must surely have used an optical printer in some of his films (maybe Happy End, for ex.), but since the previous poster only dropped his name without specific films, I thought it was a point worth clarifying... R. -- *From:* FrameWorks [frameworks-boun...@jonasmekasfilms.com] on behalf of Mark Toscano [fiddy...@gmail.com] *Sent:* Wednesday, August 06, 2014 8:04 PM *To:* Experimental Film Discussion List *Subject:* Re: [Frameworks] films using the optical printer Baillie's CASTRO STREET has no optical printing in it. It's all in-camera matting or A/B/C lab printing. Also, it periodically needs to be said that Pat O'Neill's 7362 has NO optical printing in it whatsoever. It's all contact printing and hand-processing. A lot of people tend to talk about Pat's optical work, then show 7362 as an example in both public screenings and classes (sorry Jason!). Pat's first foray into optical printing came approximately two years later in his installation piece SCREEN (1969), and then with RUNS GOOD, etc. after that. That said, Pat is, as has already been said, an unparalleled artist in the medium, and though optical printing was for him merely a technological tool for achieving quite advanced aesthetic ideals, he is unsurpassed in his artful and visionary use of the thing. Probably the most convenient and exemplary short film of his for explaining, demonstrating, or teaching optical printing work is SAUGUS SERIES, which in some ways functions as both a notebook of incredible visual ideas pretty much without precedent, and an unintentional compendium of highly diverse suggestive uses for the optical printer. But you pretty much can't go wrong with ANYTHING Pat's made. Mark Toscano On Wed, Aug 6, 2014 at 12:48 PM, Stefan Grabowski ste...@radonlake.com wrote: Bruce Baillie's 'Castro Street' has some really beautiful optical printing work. -- From: bigmuddy2...@hotmail.com Date: Wed, 6 Aug 2014 13:32:24 -0600 To: frameworks@jonasmekasfilms.com Subject: Re: [Frameworks] films using the optical printer This is a great list! Barbara Hammer would be a good addition Sent from my iPhone On Aug 6, 2014, at 1:29 PM, Jason Halprin jihalp...@gmail.com wrote: Hi Carolyn, Below is the screening list from the last time I taught Optical Printing at Columbia College. I agree that Pat O'Neill is probably the greatest example of Optical Printing artistry, and include much of his work is available for purchase in DVD form. However, I would also stress that it was amazing to take the prints of his work and view them on rewinds with a light table so that students could really study how he created his looks. I love Water and Power too, and usually saved it until the last class in the semester. -Jason Halprin *DAILY SCHEDULE* *Class 01 – January 25th * Screening: *Pas de deux* (Norman McLaren, 13 min, 1968) *Class 02- February 1st* Screening: *Passage à l'acte* (Martin Arnold, 15 min., 1993) *Class 03- February 8th* Screening: *Piece Touche *(Martin Arnold, 15 min., 1989) *Zocalo* (Richard Myers, 15 min, 1972) *Spitting Image* (Paula Froehle, 3 min., 1992) *Class 04- February 15th* Screeing: *7362* (Pat O’Neill, 10 min, 1967) *Roseblood* (Sharon Couzin, 7 min., 1974) *Class 05- February 22nd* Screening: *Watersmith *(Will Hindle, 25 min, 1969) *Film Wipe Film* (Paul Glabicki, 32 min, 1984) *Class 06 * Screening: *Wild Gunman* (Craig Baldwin, 20 min, 1978) *Television Assassination* (Bruce Conner, 14 min, 1964/95) *Cosmic Ray* (Bruce Conner, 4 min, 1961) *Class 07- March 8th* Screening: *Alone, Life Wastes Andy Hardy* (Martin Arnold, 15 min, 1998) *Flicker: Unsteady Motion* (Paula Frohele, 7 min, 1995) *Class 08- March 15th* Screening: *Frame* (Ken Kobland, 10 min, 1976) *Vestibule* (Ken Kobland, 24 min, 1979) *Class 09- March 29th* Screening: *Chinese Fire Drill* (Will Hindle, 25 min, 1968) *Runs Good* (Pat O’Neill, 15 min, 1970) *Class 10- April 5th* Screening: *Elasticity* (Chick Strand, 25 min, 1976) *Babobilicons* (Dana Krummins, 18 min
Re: [Frameworks] films using the optical printer
Here's another good example: Richard Tuohy, Etienne's Hand (2011) http://nanolab.com.au/etienne%27s%20hand.htm https://vimeo.com/21512772 El Jueves 7 de agosto de 2014 13:03, Elena Duque elenadu...@gmail.com escribió: Daïchi Saïto's films, specially Trees of Syntax: Leaves of Axis, Never a Foot Too Far, Even and All That Rises. He has written about his processes in his book Moving the Sleeping Images of Things Towards the Light. El 07/08/2014 04:40, Beebe, Roger W. beebe...@osu.edu escribió: In the same spirit as Mark's post, I wanted to note that Peter Tscherkassky's Cinemascope trilogy is actually contact printed in short stretches (much of it using a laser pointer) rather than optically printed. He must surely have used an optical printer in some of his films (maybe Happy End, for ex.), but since the previous poster only dropped his name without specific films, I thought it was a point worth clarifying... R. From: FrameWorks [frameworks-boun...@jonasmekasfilms.com] on behalf of Mark Toscano [fiddy...@gmail.com] Sent: Wednesday, August 06, 2014 8:04 PM To: Experimental Film Discussion List Subject: Re: [Frameworks] films using the optical printer Baillie's CASTRO STREET has no optical printing in it. It's all in-camera matting or A/B/C lab printing. Also, it periodically needs to be said that Pat O'Neill's 7362 has NO optical printing in it whatsoever. It's all contact printing and hand-processing. A lot of people tend to talk about Pat's optical work, then show 7362 as an example in both public screenings and classes (sorry Jason!). Pat's first foray into optical printing came approximately two years later in his installation piece SCREEN (1969), and then with RUNS GOOD, etc. after that. That said, Pat is, as has already been said, an unparalleled artist in the medium, and though optical printing was for him merely a technological tool for achieving quite advanced aesthetic ideals, he is unsurpassed in his artful and visionary use of the thing. Probably the most convenient and exemplary short film of his for explaining, demonstrating, or teaching optical printing work is SAUGUS SERIES, which in some ways functions as both a notebook of incredible visual ideas pretty much without precedent, and an unintentional compendium of highly diverse suggestive uses for the optical printer. But you pretty much can't go wrong with ANYTHING Pat's made. Mark Toscano On Wed, Aug 6, 2014 at 12:48 PM, Stefan Grabowski ste...@radonlake.com wrote: Bruce Baillie's 'Castro Street' has some really beautiful optical printing work. From: bigmuddy2...@hotmail.com Date: Wed, 6 Aug 2014 13:32:24 -0600 To: frameworks@jonasmekasfilms.com Subject: Re: [Frameworks] films using the optical printer This is a great list! Barbara Hammer would be a good addition Sent from my iPhone On Aug 6, 2014, at 1:29 PM, Jason Halprin jihalp...@gmail.com wrote: Hi Carolyn, Below is the screening list from the last time I taught Optical Printing at Columbia College. I agree that Pat O'Neill is probably the greatest example of Optical Printing artistry, and include much of his work is available for purchase in DVD form. However, I would also stress that it was amazing to take the prints of his work and view them on rewinds with a light table so that students could really study how he created his looks. I love Water and Power too, and usually saved it until the last class in the semester. -Jason Halprin DAILY SCHEDULE Class 01 – January 25th Screening: Pas de deux (Norman McLaren, 13 min, 1968) Class 02- February 1stScreening: Passage à l'acte (Martin Arnold, 15 min., 1993) Class 03- February 8thScreening: Piece Touche (Martin Arnold, 15 min., 1989) Zocalo (Richard Myers, 15 min, 1972) Spitting Image (Paula Froehle, 3 min., 1992) Class 04- February 15thScreeing: 7362 (Pat O’Neill, 10 min, 1967) Roseblood (Sharon Couzin, 7 min., 1974) Class 05- February 22nd Screening: Watersmith (Will Hindle, 25 min, 1969) Film Wipe Film(Paul Glabicki, 32 min, 1984) Class 06 Screening: Wild Gunman (Craig Baldwin, 20 min, 1978) Television Assassination (Bruce Conner, 14 min, 1964/95) Cosmic Ray (Bruce Conner, 4 min, 1961) Class 07- March 8thScreening: Alone, Life Wastes Andy Hardy (Martin Arnold, 15 min, 1998) Flicker: Unsteady Motion (Paula Frohele, 7 min, 1995) Class 08- March 15thScreening: Frame (Ken Kobland, 10 min, 1976) Vestibule (Ken Kobland, 24 min, 1979) Class 09- March 29thScreening: Chinese Fire Drill (Will Hindle, 25 min, 1968) Runs Good (Pat O’Neill, 15 min, 1970) Class 10- April 5thScreening
Re: [Frameworks] films using the optical printer
You have to start with Pat O'neil. On Wed, Aug 6, 2014 at 12:06 PM, Caryn Cline carynycl...@gmail.com wrote: Dear Frameworkers, If I were going to undertake a series of screenings showcasing optical printer techniques, what work would you recommend? What is the best work for understanding the cinematic potential in optical printing? Are there any texts that could be included? I'm asking for my own enlightenment and to take my own OP work to another level, but I might also try to put together a public screening at some point. Many thanks, as always, for your thoughts and advice. CC -- Caryn Cline Experimental Filmmaker Teacher vimeo.com/carynyc Co-producer cinematographer, *Acts of Witness* www.actsofwitness.com ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks -- John Knecht, Russell Colgate Distinguished University Professor of Art and Art History and Film and Media Studies ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] films using the optical printer
And while we're at it... my understanding was that Annabel Nicholson's Slides (also mentioned in this series of posts) was actually made on a contact printer, sliding pieces of film along at different speeds. I think her piece would be particularly hard to do in an optical printer, because its so fluid. Chris In the same spirit as Mark's post, I wanted to note that Peter Tscherkassky's Cinemascope trilogy is actually contact printed in short stretches (much of it using a laser pointer) rather than optically printed. He must surely have used an optical printer in some of his films (maybe Happy End, for ex.), but since the previous poster only dropped his name without specific films, I thought it was a point worth clarifying... R. From: FrameWorks [frameworks-boun...@jonasmekasfilms.com] on behalf of Mark Toscano [fiddy...@gmail.com] Sent: Wednesday, August 06, 2014 8:04 PM To: Experimental Film Discussion List Subject: Re: [Frameworks] films using the optical printer Baillie's CASTRO STREET has no optical printing in it. It's all in-camera matting or A/B/C lab printing. Also, it periodically needs to be said that Pat O'Neill's 7362 has NO optical printing in it whatsoever. It's all contact printing and hand-processing. A lot of people tend to talk about Pat's optical work, then show 7362 as an example in both public screenings and classes (sorry Jason!). Pat's first foray into optical printing came approximately two years later in his installation piece SCREEN (1969), and then with RUNS GOOD, etc. after that. That said, Pat is, as has already been said, an unparalleled artist in the medium, and though optical printing was for him merely a technological tool for achieving quite advanced aesthetic ideals, he is unsurpassed in his artful and visionary use of the thing. Probably the most convenient and exemplary short film of his for explaining, demonstrating, or teaching optical printing work is SAUGUS SERIES, which in some ways functions as both a notebook of incredible visual ideas pretty much without precedent, and an unintentional compendium of highly diverse suggestive uses for the optical printer. But you pretty much can't go wrong with ANYTHING Pat's made. Mark Toscano On Wed, Aug 6, 2014 at 12:48 PM, Stefan Grabowski ste...@radonlake.commailto:ste...@radonlake.com wrote: Bruce Baillie's 'Castro Street' has some really beautiful optical printing work. From: bigmuddy2...@hotmail.commailto:bigmuddy2...@hotmail.com Date: Wed, 6 Aug 2014 13:32:24 -0600 To: frameworks@jonasmekasfilms.commailto:frameworks@jonasmekasfilms.com Subject: Re: [Frameworks] films using the optical printer This is a great list! Barbara Hammer would be a good addition Sent from my iPhone On Aug 6, 2014, at 1:29 PM, Jason Halprin jihalp...@gmail.commailto:jihalp...@gmail.com wrote: Hi Carolyn, Below is the screening list from the last time I taught Optical Printing at Columbia College. I agree that Pat O'Neill is probably the greatest example of Optical Printing artistry, and include much of his work is available for purchase in DVD form. However, I would also stress that it was amazing to take the prints of his work and view them on rewinds with a light table so that students could really study how he created his looks. I love Water and Power too, and usually saved it until the last class in the semester. -Jason Halprin DAILY SCHEDULE Class 01 January 25th Screening: Pas de deux (Norman McLaren, 13 min, 1968) Class 02- February 1st Screening: Passage à l'acte (Martin Arnold, 15 min., 1993) Class 03- February 8th Screening: Piece Touche (Martin Arnold, 15 min., 1989) Zocalo (Richard Myers, 15 min, 1972) Spitting Image (Paula Froehle, 3 min., 1992) Class 04- February 15th Screeing: 7362 (Pat ONeill, 10 min, 1967) Roseblood (Sharon Couzin, 7 min., 1974) Class 05- February 22nd Screening: Watersmith (Will Hindle, 25 min, 1969) Film Wipe Film (Paul Glabicki, 32 min, 1984) Class 06 Screening: Wild Gunman (Craig Baldwin, 20 min, 1978) Television Assassination (Bruce Conner, 14 min, 1964/95) Cosmic Ray (Bruce Conner, 4 min, 1961) Class 07- March 8th Screening: Alone, Life Wastes Andy Hardy (Martin Arnold, 15 min, 1998) Flicker: Unsteady Motion (Paula Frohele, 7 min, 1995) Class 08- March 15th Screening: Frame (Ken Kobland, 10 min, 1976) Vestibule (Ken Kobland, 24 min, 1979) Class 09- March 29th Screening: Chinese Fire Drill (Will Hindle, 25 min, 1968) Runs Good (Pat ONeill, 15 min, 1970) Class 10- April 5th Screening: Elasticity (Chick
Re: [Frameworks] films using the optical printer
that´s correct. she used the lfmc Debrie machine that is still in use at No.w.here. Nicky. -Original Message- From: direc...@lift.on.ca To: Experimental Film Discussion List frameworks@jonasmekasfilms.com Sent: Thu, 7 Aug 2014 17:02 Subject: Re: [Frameworks] films using the optical printer And while we're at it... my understanding was that Annabel Nicholson's Slides (also mentioned in this series of posts) was actually made on a contact printer, sliding pieces of film along at different speeds. I think her piece would be particularly hard to do in an optical printer, because its so fluid. Chris In the same spirit as Mark's post, I wanted to note that Peter Tscherkassky's Cinemascope trilogy is actually contact printed in short stretches (much of it using a laser pointer) rather than optically printed. He must surely have used an optical printer in some of his films (maybe Happy End, for ex.), but since the previous poster only dropped his name without specific films, I thought it was a point worth clarifying... R. From: FrameWorks [frameworks-boun...@jonasmekasfilms.com] on behalf of Mark Toscano [fiddy...@gmail.com] Sent: Wednesday, August 06, 2014 8:04 PM To: Experimental Film Discussion List Subject: Re: [Frameworks] films using the optical printer Baillie's CASTRO STREET has no optical printing in it. It's all in-camera matting or A/B/C lab printing. Also, it periodically needs to be said that Pat O'Neill's 7362 has NO optical printing in it whatsoever. It's all contact printing and hand-processing. A lot of people tend to talk about Pat's optical work, then show 7362 as an example in both public screenings and classes (sorry Jason!). Pat's first foray into optical printing came approximately two years later in his installation piece SCREEN (1969), and then with RUNS GOOD, etc. after that. That said, Pat is, as has already been said, an unparalleled artist in the medium, and though optical printing was for him merely a technological tool for achieving quite advanced aesthetic ideals, he is unsurpassed in his artful and visionary use of the thing. Probably the most convenient and exemplary short film of his for explaining, demonstrating, or teaching optical printing work is SAUGUS SERIES, which in some ways functions as both a notebook of incredible visual ideas pretty much without precedent, and an unintentional compendium of highly diverse suggestive uses for the optical printer. But you pretty much can't go wrong with ANYTHING Pat's made. Mark Toscano On Wed, Aug 6, 2014 at 12:48 PM, Stefan Grabowski ste...@radonlake.commailto:ste...@radonlake.com wrote: Bruce Baillie's 'Castro Street' has some really beautiful optical printing work. From: bigmuddy2...@hotmail.commailto:bigmuddy2...@hotmail.com Date: Wed, 6 Aug 2014 13:32:24 -0600 To: frameworks@jonasmekasfilms.commailto:frameworks@jonasmekasfilms.com Subject: Re: [Frameworks] films using the optical printer This is a great list! Barbara Hammer would be a good addition Sent from my iPhone On Aug 6, 2014, at 1:29 PM, Jason Halprin jihalp...@gmail.commailto:jihalp...@gmail.com wrote: Hi Carolyn, Below is the screening list from the last time I taught Optical Printing at Columbia College. I agree that Pat O'Neill is probably the greatest example of Optical Printing artistry, and include much of his work is available for purchase in DVD form. However, I would also stress that it was amazing to take the prints of his work and view them on rewinds with a light table so that students could really study how he created his looks. I love Water and Power too, and usually saved it until the last class in the semester. -Jason Halprin DAILY SCHEDULE Class 01 January 25th Screening: Pas de deux (Norman McLaren, 13 min, 1968) Class 02- February 1st Screening: Passage à l'acte (Martin Arnold, 15 min., 1993) Class 03- February 8th Screening: Piece Touche (Martin Arnold, 15 min., 1989) Zocalo (Richard Myers, 15 min, 1972) Spitting Image (Paula Froehle, 3 min., 1992) Class 04- February 15th Screeing: 7362 (Pat ONeill, 10 min, 1967) Roseblood (Sharon Couzin, 7 min., 1974) Class 05- February 22nd Screening: Watersmith (Will Hindle, 25 min, 1969) Film Wipe Film (Paul Glabicki, 32 min, 1984) Class 06 Screening: Wild Gunman (Craig Baldwin, 20 min, 1978) Television Assassination (Bruce Conner, 14 min, 1964/95) Cosmic Ray (Bruce Conner, 4 min, 1961) Class 07- March 8th Screening: Alone, Life Wastes Andy Hardy (Martin Arnold, 15 min, 1998) Flicker: Unsteady Motion (Paula Frohele, 7 min, 1995) Class 08- March 15th Screening: Frame (Ken
Re: [Frameworks] films using the optical printer
Alexandre Larose - Ville Marie (2011) https://www.filmfestivalrotterdam.com/en/films/ville-marie/ On Thu, Aug 7, 2014 at 12:36 PM, nicky.ham...@talktalk.net wrote: that´s correct. she used the lfmc Debrie machine that is still in use at No.w.here. Nicky. -Original Message- From: direc...@lift.on.ca To: Experimental Film Discussion List Sent: Thu, 7 Aug 2014 17:02 Subject: Re: [Frameworks] films using the optical printer And while we're at it... my understanding was that Annabel Nicholson's Slides (also mentioned in this series of posts) was actually made on a contact printer, sliding pieces of film along at different speeds. I think her piece would be particularly hard to do in an optical printer, because its so fluid. Chris In the same spirit as Mark's post, I wanted to note that Peter Tscherkassky's Cinemascope trilogy is actually contact printed in short stretches (much of it using a laser pointer) rather than optically printed. He must surely have used an optical printer in some of his films (maybe Happy End, for ex.), but since the previous poster only dropped his name without specific films, I thought it was a point worth clarifying... R. From: FrameWorks [frameworks-boun...@jonasmekasfilms.com] on behalf of Mark Toscano [fiddy...@gmail.com] Sent: Wednesday, August 06, 2014 8:04 PM To: Experimental Film Discussion List Subject: Re: [Frameworks] films using the optical printer Baillie's CASTRO STREET has no optical printing in it. It's all in-camera matting or A/B/C lab printing. Also, it periodically needs to be said that Pat O'Neill's 7362 has NO optical printing in it whatsoever. It's all contact printing and hand-processing. A lot of people tend to talk about Pat's optical work, then show 7362 as an example in both public screenings and classes (sorry Jason!). Pat's first foray into optical printing came approximately two years later in his installation piece SCREEN (1969), and then with RUNS GOOD, etc. after that. That said, Pat is, as has already been said, an unparalleled artist in the medium, and though optical printing was for him merely a technological tool for achieving quite advanced aesthetic ideals, he is unsurpassed in his artful and visionary use of the thing. Probably the most convenient and exemplary short film of his for explaining, demonstrating, or teaching optical printing work is SAUGUS SERIES, which in some ways functions as both a notebook of incredible visual ideas pretty much without precedent, and an unintentional compendium of highly diverse suggestive uses for the optical printer. But you pretty much can't go wrong with ANYTHING Pat's made. Mark Toscano On Wed, Aug 6, 2014 at 12:48 PM, Stefan Grabowski ste...@radonlake.commailto:ste...@radonlake.com ste...@radonlake.com? wrote: Bruce Baillie's 'Castro Street' has some really beautiful optical printing work. From: bigmuddy2...@hotmail.commailto:bigmuddy2...@hotmail.com bigmuddy2...@hotmail.com? Date: Wed, 6 Aug 2014 13:32:24 -0600 To: frameworks@jonasmekasfilms.commailto:frameworks@jonasmekasfilms.com frameworks@jonasmekasfilms.com? Subject: Re: [Frameworks] films using the optical printer This is a great list! Barbara Hammer would be a good addition Sent from my iPhone On Aug 6, 2014, at 1:29 PM, Jason Halprin jihalp...@gmail.commailto:jihalp...@gmail.com jihalp...@gmail.com? wrote: Hi Carolyn, Below is the screening list from the last time I taught Optical Printing at Columbia College. I agree that Pat O'Neill is probably the greatest example of Optical Printing artistry, and include much of his work is available for purchase in DVD form. However, I would also stress that it was amazing to take the prints of his work and view them on rewinds with a light table so that students could really study how he created his looks. I love Water and Power too, and usually saved it until the last class in the semester. -Jason Halprin DAILY SCHEDULE Class 01 – January 25th Screening: Pas de deux (Norman McLaren, 13 min, 1968) Class 02- February 1st Screening: Passage à l'acte (Martin Arnold, 15 min., 1993) Class 03- February 8th Screening: Piece Touche (Martin Arnold, 15 min., 1989) Zocalo (Richard Myers, 15 min, 1972) Spitting Image (Paula Froehle, 3 min., 1992) Class 04- February 15th Screeing: 7362 (Pat O’Neill, 10 min, 1967) Roseblood (Sharon Couzin, 7 min., 1974) Class 05- February 22nd Screening: Watersmith (Will Hindle, 25 min, 1969) Film Wipe Film (Paul Glabicki, 32 min, 1984) Class 06 Screening: Wild Gunman (Craig Baldwin, 20 min, 1978
Re: [Frameworks] films using the optical printer
How about Pat O'Neill's work? 'Water and power', for example... On Wed, August 6, 2014 6:06 pm, Caryn Cline wrote: Dear Frameworkers, If I were going to undertake a series of screenings showcasing optical printer techniques, what work would you recommend? What is the best work for understanding the cinematic potential in optical printing? Are there any texts that could be included? I'm asking for my own enlightenment and to take my own OP work to another level, but I might also try to put together a public screening at some point. Many thanks, as always, for your thoughts and advice. CC -- Caryn Cline Experimental Filmmaker Teacher vimeo.com/carynyc Co-producer cinematographer, *Acts of Witness* www.actsofwitness.com ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] films using the optical printer
Monkey's Birthday, David Larcher; - colour separation, superimposition, bi-packing etc. Slides, Annabel Nicholson; pulling film through the gate etc Film Sound, Andy Moss; short edits/loops (sound and picture), superimpositions (all at LUX, London.) Rob From: Caryn Cline carynycl...@gmail.commailto:carynycl...@gmail.com Reply-To: Experimental Film Discussion List frameworks@jonasmekasfilms.commailto:frameworks@jonasmekasfilms.com Date: Wed, 6 Aug 2014 09:06:12 -0700 To: Experimental Film Discussion List FrameWorks@jonasmekasfilms.commailto:FrameWorks@jonasmekasfilms.com Subject: [Frameworks] films using the optical printer Dear Frameworkers, If I were going to undertake a series of screenings showcasing optical printer techniques, what work would you recommend? What is the best work for understanding the cinematic potential in optical printing? Are there any texts that could be included? I'm asking for my own enlightenment and to take my own OP work to another level, but I might also try to put together a public screening at some point. Many thanks, as always, for your thoughts and advice. CC -- Caryn Cline Experimental Filmmaker Teacher vimeo.com/carynychttp://vimeo.com/carynyc Co-producer cinematographer, Acts of Witness www.actsofwitness.comhttp://www.actsofwitness.com/ [Falmouth University] http://www.falmouth.ac.uk/ [Follow us] [Facebook] https://www.facebook.com/falmouthuni [Twitter] http://twitter.com/falmouthuni [Youtube] http://www.youtube.com/falmouthuniversity [Pintrest] http://pinterest.com/falmouthuni This email is confidential and intended solely for the use of the intended recipient only. If you have received this email in error, please inform us immediately and then delete it. ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.commailto:FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] films using the optical printer
The entire oeuvre of Pat O¹Neill is essential, and very influential. We did a screening with a various of interesting optically printed films as part of Alternative Projections. http://www.alternativeprojections.com/screening-series/visions-memory-and-a- machine-optical-manipulations/ On 8/6/14 9:22 AM, Gawthrop, Rob rob.gawth...@falmouth.ac.uk wrote: Monkey's Birthday, David Larcher; - colour separation, superimposition, bi-packing etc. Slides, Annabel Nicholson; pulling film through the gate etc Film Sound, Andy Moss; short edits/loops (sound and picture), superimpositions (all at LUX, London.) Rob From: Caryn Cline carynycl...@gmail.com Reply-To: Experimental Film Discussion List frameworks@jonasmekasfilms.com Date: Wed, 6 Aug 2014 09:06:12 -0700 To: Experimental Film Discussion List FrameWorks@jonasmekasfilms.com Subject: [Frameworks] films using the optical printer Dear Frameworkers, If I were going to undertake a series of screenings showcasing optical printer techniques, what work would you recommend? What is the best work for understanding the cinematic potential in optical printing? Are there any texts that could be included? I'm asking for my own enlightenment and to take my own OP work to another level, but I might also try to put together a public screening at some point. Many thanks, as always, for your thoughts and advice. CC ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] films using the optical printer
In my humble opinion, Pat O'Neill is the master of optical printing. Water and Power is a great film, as are all of his. My personal favorites are Trouble in the Image and The Decay of Fiction. The latter is perhaps the greatest single example of optical printer work ever produced, but as far as I know it's not available. http://www.lookoutmountainstudios.com/store.php Other optical printing wizards are Adam Beckett, Paul Sharits, François Miron. --Aaron At 8/6/2014, you wrote: Dear Frameworkers, If I were going to undertake a series of screenings showcasing optical printer techniques, what work would you recommend?  What is the best work for understanding the cinematic potential in optical printing?  Are there any texts that could be included?  I'm asking for my own enlightenment and to take my own OP work to another level, but I might also try to put together a public screening at some point. Many thanks, as always, for your thoughts and advice. CC   -- Caryn Cline Experimental Filmmaker Teacher http://vimeo.com/carynycvimeo.com/carynyc Co-producer cinematographer, Acts of Witness http://www.actsofwitness.com/www.actsofwitness.com ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks -- Aaron F. Ross, artist and educator http://dr-yo.com http://digitalartsguild.com ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] films using the optical printer
Peter Tscherkassky On Aug 6, 2014, at 12:22 PM, c b bigmuddy2...@hotmail.com wrote: Martin Arnold's early films Sent from my iPhone On Aug 6, 2014, at 10:06 AM, Caryn Cline carynycl...@gmail.com wrote: Dear Frameworkers, If I were going to undertake a series of screenings showcasing optical printer techniques, what work would you recommend? What is the best work for understanding the cinematic potential in optical printing? Are there any texts that could be included? I'm asking for my own enlightenment and to take my own OP work to another level, but I might also try to put together a public screening at some point. Many thanks, as always, for your thoughts and advice. CC -- Caryn Cline Experimental Filmmaker Teacher vimeo.com/carynyc Co-producer cinematographer, Acts of Witness www.actsofwitness.com ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] films using the optical printer
Hi Carolyn, Below is the screening list from the last time I taught Optical Printing at Columbia College. I agree that Pat O'Neill is probably the greatest example of Optical Printing artistry, and include much of his work is available for purchase in DVD form. However, I would also stress that it was amazing to take the prints of his work and view them on rewinds with a light table so that students could really study how he created his looks. I love Water and Power too, and usually saved it until the last class in the semester. -Jason Halprin *DAILY SCHEDULE* *Class 01 – January 25th * Screening: *Pas de deux* (Norman McLaren, 13 min, 1968) *Class 02- February 1st* Screening: *Passage à l'acte* (Martin Arnold, 15 min., 1993) *Class 03- February 8th* Screening: *Piece Touche *(Martin Arnold, 15 min., 1989) *Zocalo* (Richard Myers, 15 min, 1972) *Spitting Image* (Paula Froehle, 3 min., 1992) *Class 04- February 15th* Screeing: *7362* (Pat O’Neill, 10 min, 1967) *Roseblood* (Sharon Couzin, 7 min., 1974) *Class 05- February 22nd* Screening: *Watersmith *(Will Hindle, 25 min, 1969) *Film Wipe Film* (Paul Glabicki, 32 min, 1984) *Class 06 * Screening: *Wild Gunman* (Craig Baldwin, 20 min, 1978) *Television Assassination* (Bruce Conner, 14 min, 1964/95) *Cosmic Ray* (Bruce Conner, 4 min, 1961) *Class 07- March 8th* Screening: *Alone, Life Wastes Andy Hardy* (Martin Arnold, 15 min, 1998) *Flicker: Unsteady Motion* (Paula Frohele, 7 min, 1995) *Class 08- March 15th* Screening: *Frame* (Ken Kobland, 10 min, 1976) *Vestibule* (Ken Kobland, 24 min, 1979) *Class 09- March 29th* Screening: *Chinese Fire Drill* (Will Hindle, 25 min, 1968) *Runs Good* (Pat O’Neill, 15 min, 1970) *Class 10- April 5th* Screening: *Elasticity* (Chick Strand, 25 min, 1976) *Babobilicons* (Dana Krummins, 18 min, 1982) *Class 11- April 12th* Screening: *Nocturne (*Phil Solomon, 10 min, 1980) *Remains to be Seen* (Phil Solomon, 17 min, 1989) *Class 12- April 19th* Screening: *The Idea* (Bill Knowland, 20 min, 1990) *Class 13- April 26th * Screening: *Milk and Honey* (Kate McCabe, 17 min, 2004) *Montessori Sword Fight *(Mary Beth Reed, 7 min, 2002) *Class 14- May 3rd* Screening: *Water and Power* (Pat O’Neill, 54 min, 1989) Jason Halprin jihalp...@gmail.com On Wed, Aug 6, 2014 at 12:10 PM, Gene Youngblood ato...@comcast.net wrote: I join Marcos and Adam in stressing the importance of Pat O’Neill here. Optical printing doesn’t get any better if by that term we mean an art form, an aesthetic practice, not a technique. Another artist from Pat’s generation known for his optical printing is Will Hindle *From:* Adam Hyman a...@lafilmforum.org *Sent:* Wednesday, August 06, 2014 10:57 AM *To:* Experimental Film Discussion List frameworks@jonasmekasfilms.com *Subject:* Re: [Frameworks] films using the optical printer The entire oeuvre of Pat O’Neill is essential, and very influential. We did a screening with a various of interesting optically printed films as part of Alternative Projections. http://www.alternativeprojections.com/screening-series/visions-memory-and-a-machine-optical-manipulations/ On 8/6/14 9:22 AM, Gawthrop, Rob rob.gawth...@falmouth.ac.uk wrote: Monkey's Birthday, David Larcher; - colour separation, superimposition, bi-packing etc. Slides, Annabel Nicholson; pulling film through the gate etc Film Sound, Andy Moss; short edits/loops (sound and picture), superimpositions (all at LUX, London.) Rob From: Caryn Cline carynycl...@gmail.com Reply-To: Experimental Film Discussion List frameworks@jonasmekasfilms.com Date: Wed, 6 Aug 2014 09:06:12 -0700 To: Experimental Film Discussion List FrameWorks@jonasmekasfilms.com Subject: [Frameworks] films using the optical printer Dear Frameworkers, If I were going to undertake a series of screenings showcasing optical printer techniques, what work would you recommend? What is the best work for understanding the cinematic potential in optical printing? Are there any texts that could be included? I'm asking for my own enlightenment and to take my own OP work to another level, but I might also try to put together a public screening at some point. Many thanks, as always, for your thoughts and advice. CC -- ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com
Re: [Frameworks] films using the optical printer
Baillie's CASTRO STREET has no optical printing in it. It's all in-camera matting or A/B/C lab printing. Also, it periodically needs to be said that Pat O'Neill's 7362 has NO optical printing in it whatsoever. It's all contact printing and hand-processing. A lot of people tend to talk about Pat's optical work, then show 7362 as an example in both public screenings and classes (sorry Jason!). Pat's first foray into optical printing came approximately two years later in his installation piece SCREEN (1969), and then with RUNS GOOD, etc. after that. That said, Pat is, as has already been said, an unparalleled artist in the medium, and though optical printing was for him merely a technological tool for achieving quite advanced aesthetic ideals, he is unsurpassed in his artful and visionary use of the thing. Probably the most convenient and exemplary short film of his for explaining, demonstrating, or teaching optical printing work is SAUGUS SERIES, which in some ways functions as both a notebook of incredible visual ideas pretty much without precedent, and an unintentional compendium of highly diverse suggestive uses for the optical printer. But you pretty much can't go wrong with ANYTHING Pat's made. Mark Toscano On Wed, Aug 6, 2014 at 12:48 PM, Stefan Grabowski ste...@radonlake.com wrote: Bruce Baillie's 'Castro Street' has some really beautiful optical printing work. -- From: bigmuddy2...@hotmail.com Date: Wed, 6 Aug 2014 13:32:24 -0600 To: frameworks@jonasmekasfilms.com Subject: Re: [Frameworks] films using the optical printer This is a great list! Barbara Hammer would be a good addition Sent from my iPhone On Aug 6, 2014, at 1:29 PM, Jason Halprin jihalp...@gmail.com wrote: Hi Carolyn, Below is the screening list from the last time I taught Optical Printing at Columbia College. I agree that Pat O'Neill is probably the greatest example of Optical Printing artistry, and include much of his work is available for purchase in DVD form. However, I would also stress that it was amazing to take the prints of his work and view them on rewinds with a light table so that students could really study how he created his looks. I love Water and Power too, and usually saved it until the last class in the semester. -Jason Halprin *DAILY SCHEDULE* *Class 01 – January 25th * Screening: *Pas de deux* (Norman McLaren, 13 min, 1968) *Class 02- February 1st* Screening: *Passage à l'acte* (Martin Arnold, 15 min., 1993) *Class 03- February 8th* Screening: *Piece Touche *(Martin Arnold, 15 min., 1989) *Zocalo* (Richard Myers, 15 min, 1972) *Spitting Image* (Paula Froehle, 3 min., 1992) *Class 04- February 15th* Screeing: *7362* (Pat O’Neill, 10 min, 1967) *Roseblood* (Sharon Couzin, 7 min., 1974) *Class 05- February 22nd* Screening: *Watersmith *(Will Hindle, 25 min, 1969) *Film Wipe Film* (Paul Glabicki, 32 min, 1984) *Class 06 * Screening: *Wild Gunman* (Craig Baldwin, 20 min, 1978) *Television Assassination* (Bruce Conner, 14 min, 1964/95) *Cosmic Ray* (Bruce Conner, 4 min, 1961) *Class 07- March 8th* Screening: *Alone, Life Wastes Andy Hardy* (Martin Arnold, 15 min, 1998) *Flicker: Unsteady Motion* (Paula Frohele, 7 min, 1995) *Class 08- March 15th* Screening: *Frame* (Ken Kobland, 10 min, 1976) *Vestibule* (Ken Kobland, 24 min, 1979) *Class 09- March 29th* Screening: *Chinese Fire Drill* (Will Hindle, 25 min, 1968) *Runs Good* (Pat O’Neill, 15 min, 1970) *Class 10- April 5th* Screening: *Elasticity* (Chick Strand, 25 min, 1976) *Babobilicons* (Dana Krummins, 18 min, 1982) *Class 11- April 12th* Screening: *Nocturne (*Phil Solomon, 10 min, 1980) *Remains to be Seen* (Phil Solomon, 17 min, 1989) *Class 12- April 19th* Screening: *The Idea* (Bill Knowland, 20 min, 1990) *Class 13- April 26th * Screening: *Milk and Honey* (Kate McCabe, 17 min, 2004) *Montessori Sword Fight *(Mary Beth Reed, 7 min, 2002) *Class 14- May 3rd* Screening: *Water and Power* (Pat O’Neill, 54 min, 1989) Jason Halprin jihalp...@gmail.com On Wed, Aug 6, 2014 at 12:10 PM, Gene Youngblood ato...@comcast.net wrote: I join Marcos and Adam in stressing the importance of Pat O’Neill here. Optical printing doesn’t get any better if by that term we mean an art form, an aesthetic practice, not a technique. Another artist from Pat’s generation known for his optical printing is Will Hindle *From:* Adam Hyman a...@lafilmforum.org *Sent:* Wednesday, August 06, 2014 10:57 AM *To:* Experimental Film Discussion List
Re: [Frameworks] films using the optical printer
In the same spirit as Mark's post, I wanted to note that Peter Tscherkassky's Cinemascope trilogy is actually contact printed in short stretches (much of it using a laser pointer) rather than optically printed. He must surely have used an optical printer in some of his films (maybe Happy End, for ex.), but since the previous poster only dropped his name without specific films, I thought it was a point worth clarifying... R. From: FrameWorks [frameworks-boun...@jonasmekasfilms.com] on behalf of Mark Toscano [fiddy...@gmail.com] Sent: Wednesday, August 06, 2014 8:04 PM To: Experimental Film Discussion List Subject: Re: [Frameworks] films using the optical printer Baillie's CASTRO STREET has no optical printing in it. It's all in-camera matting or A/B/C lab printing. Also, it periodically needs to be said that Pat O'Neill's 7362 has NO optical printing in it whatsoever. It's all contact printing and hand-processing. A lot of people tend to talk about Pat's optical work, then show 7362 as an example in both public screenings and classes (sorry Jason!). Pat's first foray into optical printing came approximately two years later in his installation piece SCREEN (1969), and then with RUNS GOOD, etc. after that. That said, Pat is, as has already been said, an unparalleled artist in the medium, and though optical printing was for him merely a technological tool for achieving quite advanced aesthetic ideals, he is unsurpassed in his artful and visionary use of the thing. Probably the most convenient and exemplary short film of his for explaining, demonstrating, or teaching optical printing work is SAUGUS SERIES, which in some ways functions as both a notebook of incredible visual ideas pretty much without precedent, and an unintentional compendium of highly diverse suggestive uses for the optical printer. But you pretty much can't go wrong with ANYTHING Pat's made. Mark Toscano On Wed, Aug 6, 2014 at 12:48 PM, Stefan Grabowski ste...@radonlake.commailto:ste...@radonlake.com wrote: Bruce Baillie's 'Castro Street' has some really beautiful optical printing work. From: bigmuddy2...@hotmail.commailto:bigmuddy2...@hotmail.com Date: Wed, 6 Aug 2014 13:32:24 -0600 To: frameworks@jonasmekasfilms.commailto:frameworks@jonasmekasfilms.com Subject: Re: [Frameworks] films using the optical printer This is a great list! Barbara Hammer would be a good addition Sent from my iPhone On Aug 6, 2014, at 1:29 PM, Jason Halprin jihalp...@gmail.commailto:jihalp...@gmail.com wrote: Hi Carolyn, Below is the screening list from the last time I taught Optical Printing at Columbia College. I agree that Pat O'Neill is probably the greatest example of Optical Printing artistry, and include much of his work is available for purchase in DVD form. However, I would also stress that it was amazing to take the prints of his work and view them on rewinds with a light table so that students could really study how he created his looks. I love Water and Power too, and usually saved it until the last class in the semester. -Jason Halprin DAILY SCHEDULE Class 01 – January 25th Screening: Pas de deux (Norman McLaren, 13 min, 1968) Class 02- February 1st Screening: Passage à l'acte (Martin Arnold, 15 min., 1993) Class 03- February 8th Screening: Piece Touche (Martin Arnold, 15 min., 1989) Zocalo (Richard Myers, 15 min, 1972) Spitting Image (Paula Froehle, 3 min., 1992) Class 04- February 15th Screeing: 7362 (Pat O’Neill, 10 min, 1967) Roseblood (Sharon Couzin, 7 min., 1974) Class 05- February 22nd Screening: Watersmith (Will Hindle, 25 min, 1969) Film Wipe Film (Paul Glabicki, 32 min, 1984) Class 06 Screening: Wild Gunman (Craig Baldwin, 20 min, 1978) Television Assassination (Bruce Conner, 14 min, 1964/95) Cosmic Ray (Bruce Conner, 4 min, 1961) Class 07- March 8th Screening: Alone, Life Wastes Andy Hardy (Martin Arnold, 15 min, 1998) Flicker: Unsteady Motion (Paula Frohele, 7 min, 1995) Class 08- March 15th Screening: Frame (Ken Kobland, 10 min, 1976) Vestibule (Ken Kobland, 24 min, 1979) Class 09- March 29th Screening: Chinese Fire Drill (Will Hindle, 25 min, 1968) Runs Good (Pat O’Neill, 15 min, 1970) Class 10- April 5th Screening: Elasticity (Chick Strand, 25 min, 1976) Babobilicons (Dana Krummins, 18 min, 1982) Class 11- April 12th Screening: Nocturne (Phil Solomon, 10 min, 1980) Remains to be Seen (Phil Solomon, 17 min, 1989) Class 12- April 19th Screening: The Idea (Bill Knowland, 20 min, 1990) Class 13- April 26th Screening: Milk and Honey
