From: john porter (email suppressed)
Date: Tue Feb 14 2006 - 07:50:50 PST
Yes Amanda. Fabulous! Thankyou.
Best yet of a great string of hand-made contact
printing suggestions. (Never too late to reply on
I want to try it all myself.
I particularly like your "gooby originals".
John Porter, Toronto.
--- nicole koschmann <email suppressed> wrote:
> 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
> >been my thing for the past year... so i'll post a
> >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
> >12), that the light is too bright so you can put in
> >dimmer bulb or use ND filters and run the film at
> >speed... do tests of course. and then make sure
> >you have cute little boxes over top of the raw
> >with little slits cut for film to pass through...
> >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)
> >i could use for 8 foot long strips of film. this
> >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
> >even just 8 feet... some buckling did occur... you
> >work with this though... if you buckle the top film
> >and bring it back down, your film pulls apart
> >vertically, fall out of focus, then comes back
> >together... beautiful.... you can also weave the
> >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
> >(when working with orthochromatic filmstcocks with
> >red safe light).
> >bipacking in a synchronizer:
> >kerry laitala from sanfransisco does this... and
> >seen her create a little black cone with a flash
> >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
> >oxberry 16/35 masters series... it's practically
> >for bipacking film and making contact prints (or so
> >i've been told).
> >i think that's it... my preference is the reg pins
> >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),
> >it allows for more play with moving outside of the
> >frame in terms of what you see and what you don't
> >films are a projectionists nightmare as they always
> >look like they're popping out of the gate when
> >hope that's helpful.
> >amanda dawn christie
> >vancouver, b.c., canada... no kids... mfa student,
> >filmmaker, dancer, performative projectionist,
> >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>.
John Porter, Toronto, Canada
Find your next car at http://autos.yahoo.ca
For info on FrameWorks, contact Pip Chodorov at <email suppressed>.