From: nicole koschmann (email suppressed)
Date: Tue Feb 14 2006 - 03:53:10 PST
This is fabulous! Thank you!
>From: amanda christie <email suppressed>
>Reply-To: Experimental Film Discussion List <email suppressed>
>To: email suppressed
>Subject: Re: contact printing - thank you!
>Date: Mon, 13 Feb 2006 21:24:02 -0500
>i just got this thread now, and contact printing has
>been my thing for the past year... so i'll post a few
>other suggestions if it's not too late.
>re: steenbeck printing.
>i think alex is actually on this list, but i didn't
>see that he responded. i was just talking with him
>about this two weeks ago, and hopefully he doesn't
>mind me paraphrasing him here. the thing with the
>steenbeck, when printing onto 7378 or 3378 (ISO 6 or
>12), that the light is too bright so you can put in a
>dimmer bulb or use ND filters and run the film at high
>speed... do tests of course. and then make sure that
>you have cute little boxes over top of the raw stock
>with little slits cut for film to pass through... and
>that's all it takes... super simple.
>pins on a board method: (my fav)
>i built myself a registration board last year with
>sewing pins (later switched to small brad nails) that
>i could use for 8 foot long strips of film. this way
>i could prefectly line up images in the dark. the
>only problem was that certain print stocks and neg
>stocks have different pitches and over the course of
>even just 8 feet... some buckling did occur... you can
>work with this though... if you buckle the top film up
>and bring it back down, your film pulls apart
>vertically, fall out of focus, then comes back
>together... beautiful.... you can also weave the film
>around the nails side to side to reveal the sound
>track and the sprockets....
>tape on a counter method:
>eventually i got sick of the nails and just started
>taping my film down to the counter and eyeballing it
>(when working with orthochromatic filmstcocks with a
>red safe light).
>bipacking in a synchronizer:
>kerry laitala from sanfransisco does this... and i've
>seen her create a little black cone with a flash light
>inside to focus the light, and cranks the bipacked
>film through the synchronizer.
>glass and an enlarger:
>this method works for short peices.
>bipacking in a camera:
>animation stands are great for this... especailly the
>oxberry 16/35 masters series... it's practically made
>for bipacking film and making contact prints (or so
>i've been told).
>i think that's it... my preference is the reg pins on
>a board and the tape method... because it allows for a
>much goopier original (no worries of clogging any
>machine parts with ink, paint, or other fluids), and
>it allows for more play with moving outside of the
>frame in terms of what you see and what you don't (my
>films are a projectionists nightmare as they always
>look like they're popping out of the gate when they're
>hope that's helpful.
>amanda dawn christie
>vancouver, b.c., canada... no kids... mfa student,
>filmmaker, dancer, performative projectionist, anxious
>academic... magic bean buyer.
>Find your next car at http://autos.yahoo.ca
>For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
For info on FrameWorks, contact Pip Chodorov at <email suppressed>.