From: Ken Paul Rosenthal (email suppressed)
Date: Fri Dec 26 2008 - 17:28:54 PST
Can anyone give me email contact for Tess Takahashi?
Just discovered an extraordinary essay he penned;
'AFTER THE DEATH OF FILM: WRITING THE NATURAL WORLD IN THE DIGITAL AGE'.
Visible Language. FindArticles.com. 26 Dec. 2008.
http://findarticles.com/p/articles/mi_qa3982/is_200801/ai_n25421378
If necessary, please feel free to contact me off-list.
Thanks! Ken
http://www.kenpaulrosenthal.com
> Date: Tue, 23 Dec 2008 18:48:19 -0500
> From: email suppressed
> Subject: FRAMEWORKS Digest - 23 Dec 2008 - Special issue (#2008-697)
> To: email suppressed
>
> There are 7 messages totalling 542 lines in this issue.
>
> Topics in this special issue:
>
> 1. DIY 16mm Optical Printer
> 2. how to tint 16mm b&w footage? (5)
> 3. Animated films + Water
>
>
> __________________________________________________________________
> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>
>
> ----------------------------------------------------------------------
>
> Date: Tue, 23 Dec 2008 12:37:47 +0000
> From: james <email suppressed>
> Subject: Re: DIY 16mm Optical Printer
>
> Hi
>
> I might add to this that the kodatoy 16mm projector has been mentioned on
> this list before as it has a cranking handle and could easily be adapted for
> this I think.
>
> Bolex also made critical gate focusing devices which are similar to the ones
> used in the JK optical printer so you can check the framing / focusing with
> the camera locked off before you waste time and film - indeed, I think this
> would be the hardest aspect of any DIY set up.
>
> Lenny Lipton has a chapter in independent film (mixed bag) which mentions
> re-filming the gate, and Lauren Seers films were all done using a DIY set up
> which was mentioned in an earlier post
>
> James
>
> >
> > Hi Ryan
> > I built my own optical printer using the transport part of an old (ancient!)
> > Filmo (I think) projector which has an inching knob at the front.
> > I cut everything else away including the lamp house area as well as the
> > rotating shutter on the inside behind the gate. What remained was the carcass
> > of the projector with the sprocket wheels and claw.
> > Turning the inching knob rotated the sprocket wheels which moves the film past
> > the gate and also operated the claw which pulled the frame into registration
> > in the gate. This was very precise.
> > I (very crudely) attached a very slow motor to the inching knob and this
> > turned the mechanism at a manageable speed while I pressed the single frame
> > button on the Bolex, which I faced into the gate. (I also projected the frame
> > onto a sheet of ordinary xereox paper leaving the lens in the projector and
> > pointed the cam at that (reflective). It delivers a softer image but was
> > easier to work with and you can matt the frame easier)
> > Having cut away (using a metal-type blade on a v. slow jig saw) the lamp house
> > I situated a slide projector directly behind the gate which was bright enough
> > to shoot into the frame using an extension tube on the Bolex. This takes care
> > of the cooling problem so the film frame will not warp.
> > The feed and take-up arms can be connected with a thick rubber band or
> > belt so the pull of the feed affects the pull of the take-up.
> > It took ages to build and required a lot of fuss and set up time every time I
> > used it, but it worked well.
> > The alignment was critical, as well as the parallax error of reflex systems
> > (looks perfect in viewfinder but is jogged to left or right on the actual film
> > plane).
> > I'm sure there are other critical details of the thing that I am forgetting
> > here (it has been a long time) but the above are the main ones.
> >
> > Good luck with it all.
> >
> > Julie Murray
> >
> > _________________________________________________________________
> > It¹s the same Hotmail®. If by ³same² you mean up to 70% faster.
> > http://windowslive.com/online/hotmail?ocid=TXT_TAGLM_WL_hotmail_acq_broad1_122
> > 008
> >
> > __________________________________________________________________
> > For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
> >
> >
>
>
> __________________________________________________________________
> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>
> ------------------------------
>
> Date: Tue, 23 Dec 2008 16:42:29 +0100
> From: marco poloni <email suppressed>
> Subject: how to tint 16mm b&w footage?
>
> Hello all,
>
> I just subscribed to frameworks. I am a visual artist and filmmaker based in Berlin, Germany. I heard of your list through a Chicago-based filmmaker friend of line, Peter MIller.
>
> I have a tough one... I am looking for a laboaratory in or outside of the US that has film tinting capabilities, i.e. the tinting of b&w footage with color dyes. This was a process much practised in the early days of cinema, to add expressive quality to specific scenes, and also—to my knowledge—to discriminate original films from unauthorised copies.
>
> This is a rather obsolete process. The only filmmakers I know of who used it are the Milan-based couple Ricci&Gianikian.
>
> Would anyone have a tip here?
>
> Thanks, all best,
> Marco
>
> ------------------------------------------------
> Marco Poloni, Korsörer Strasse 1, D-10437 Berlin
> gsm +41.78.6322028, skype marcopoloni
>
>
> __________________________________________________________________
> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>
> ------------------------------
>
> Date: Tue, 23 Dec 2008 08:14:54 -0800
> From: Kerry Laitala <email suppressed>
> Subject: Re: how to tint 16mm b&w footage?
>
> Well, the Berg Blue toning kits work o.k., but it can be hard to get the red truly red and not pink. I've used several fabric dyes that produce good reaults-much cheaper, but I cannot say whether they effect archivability of the film material...good-luck...
>
> Best,
>
> kerry
>
>
> --- On Tue, 12/23/08, marco poloni <email suppressed> wrote:
>
> > From: marco poloni <email suppressed>
> > Subject: how to tint 16mm b&w footage?
> > To: email suppressed
> > Date: Tuesday, December 23, 2008, 7:42 AM
> > Hello all,
> >
> > I just subscribed to frameworks. I am a visual artist and
> > filmmaker based in Berlin, Germany. I heard of your list
> > through a Chicago-based filmmaker friend of line, Peter
> > MIller.
> >
> > I have a tough one... I am looking for a laboaratory in or
> > outside of the US that has film tinting capabilities, i.e.
> > the tinting of b&w footage with color dyes. This was a
> > process much practised in the early days of cinema, to add
> > expressive quality to specific scenes, and also—to my
> > knowledge—to discriminate original films from unauthorised
> > copies.
> >
> > This is a rather obsolete process. The only filmmakers I
> > know of who used it are the Milan-based couple
> > Ricci&Gianikian.
> >
> > Would anyone have a tip here?
> >
> > Thanks, all best,
> > Marco
> >
> > ------------------------------------------------
> > Marco Poloni, Korsörer Strasse 1, D-10437 Berlin
> > gsm +41.78.6322028, skype marcopoloni
> >
> >
> > __________________________________________________________________
> > For info on FrameWorks, contact Pip Chodorov at
> > <email suppressed>.
>
>
>
>
>
> __________________________________________________________________
> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>
> ------------------------------
>
> Date: Tue, 23 Dec 2008 09:24:00 -0800
> From: Steve Polta <email suppressed>
> Subject: Re: Animated films + Water
>
> PSYCHO PORPOISE by Rock Ross, of San Francisco's No Nothing/New Nothing Cinema, is a great short work of direct-safety-pin-to-16mm scratch filmmaking. Very detailed frame-by-frame work (on image and sound)--each time I've screened it I believe I've screened the original. It is a small wonder to behold. It's very West Coast, very No Nothing, short, silly, loud, humorous and fun, skirts a very fine (and interesting) line between abstraction and cartoon representation. A masterpiece of the genre in my opinion.
>
> Steve Polta
>
>
> --- On Mon, 12/22/08, Ariella Ben-Dov <email suppressed> wrote:
>
> > From: Ariella Ben-Dov <email suppressed>
> > Subject: Animated films + Water
> > To: email suppressed
> > Date: Monday, December 22, 2008, 1:34 PM
> > Dear Frameworkers, I am looking for animated films that
> > feature water in
> > some way. It can either literally include images of water
> > or use water (as
> > in watercolors) to create the images. The films can be
> > contemporary or
> > historic and in any format. Please let me know if you have
> > any thoughts or
> > suggestions about animators to contact and specific films
> > to view.
> > Thanks a lot,
> > Ariella J. Ben-Dov
> > Artistic Director and Festival Director, Margaret Mead Film
> > & Video Festival
> > Manager, Public Programs
> >
> > American Museum of Natural History
> > Central Park West at 79th Street
> > New York, New York 10024
> >
> > (212) 496-4217 Phone
> > (212) 769-5329 Fax
> > email suppressed
> > http://www.amnh.org/mead
> >
> >
> > __________________________________________________________________
> > For info on FrameWorks, contact Pip Chodorov at
> > <email suppressed>.
>
>
>
>
>
> __________________________________________________________________
> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>
> ------------------------------
>
> Date: Tue, 23 Dec 2008 13:42:43 -0500
> From: marco poloni <email suppressed>
> Subject: Re: how to tint 16mm b&w footage?
>
> Sounds like good tips, and like a lot of tinkering... i'll try to get that berg blue kit.
> Thanks a lot,
> Marco
>
> -----Original Message-----
> >From: Kerry Laitala <email suppressed>
> >Sent: Dec 23, 2008 11:14 AM
> >To: email suppressed
> >Subject: Re: how to tint 16mm b&w footage?
> >
> >Well, the Berg Blue toning kits work o.k., but it can be hard to get the red truly red and not pink. I've used several fabric dyes that produce good reaults-much cheaper, but I cannot say whether they effect archivability of the film material...good-luck...
> >
> >Best,
> >
> >kerry
> >
> >
> >--- On Tue, 12/23/08, marco poloni <email suppressed> wrote:
> >
> >> From: marco poloni <email suppressed>
> >> Subject: how to tint 16mm b&w footage?
> >> To: email suppressed
> >> Date: Tuesday, December 23, 2008, 7:42 AM
> >> Hello all,
> >>
> >> I just subscribed to frameworks. I am a visual artist and
> >> filmmaker based in Berlin, Germany. I heard of your list
> >> through a Chicago-based filmmaker friend of line, Peter
> >> MIller.
> >>
> >> I have a tough one... I am looking for a laboaratory in or
> >> outside of the US that has film tinting capabilities, i.e.
> >> the tinting of b&w footage with color dyes. This was a
> >> process much practised in the early days of cinema, to add
> >> expressive quality to specific scenes, and also—to my
> >> knowledge—to discriminate original films from unauthorised
> >> copies.
> >>
> >> This is a rather obsolete process. The only filmmakers I
> >> know of who used it are the Milan-based couple
> >> Ricci&Gianikian.
> >>
> >> Would anyone have a tip here?
> >>
> >> Thanks, all best,
> >> Marco
> >>
> >> ------------------------------------------------
> >> Marco Poloni, Korsörer Strasse 1, D-10437 Berlin
> >> gsm +41.78.6322028, skype marcopoloni
> >>
> >>
> >> __________________________________________________________________
> >> For info on FrameWorks, contact Pip Chodorov at
> >> <email suppressed>.
> >
> >
> >
> >
> >
> >__________________________________________________________________
> >For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>
>
> ------------------------------------------------
> Marco Poloni, Korsörer Strasse 1, D-10437 Berlin
> gsm +41.78.6322028, skype marcopoloni
>
>
> __________________________________________________________________
> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>
> ------------------------------
>
> Date: Tue, 23 Dec 2008 13:29:13 -0600
> From: Ed Inman <email suppressed>
> Subject: Re: how to tint 16mm b&w footage?
>
> Photographer's Formulary in the USA sells a variety of traditional B/W toner formulas:
>
> http://www.photoformulary.com/DesktopDefault.aspx
>
> Of course most people use these on paper these days. I would be hesitant to experiment on valuable footage, but I suppose some would work on film. There is a pretty good article on film tinting on Wiki:
>
> http://en.wikipedia.org/wiki/Film_tinting
>
> As an alternative, have you considered projecting with filters?
>
> Ed
>
>
>
>
>
>
> -----Original Message-----
> >From: marco poloni <email suppressed>
> >Sent: Dec 23, 2008 12:42 PM
> >To: email suppressed
> >Subject: Re: how to tint 16mm b&w footage?
> >
> >Sounds like good tips, and like a lot of tinkering... i'll try to get that berg blue kit.
> >Thanks a lot,
> >Marco
> >
> >-----Original Message-----
> >>From: Kerry Laitala <email suppressed>
> >>Sent: Dec 23, 2008 11:14 AM
> >>To: email suppressed
> >>Subject: Re: how to tint 16mm b&w footage?
> >>
> >>Well, the Berg Blue toning kits work o.k., but it can be hard to get the red truly red and not pink. I've used several fabric dyes that produce good reaults-much cheaper, but I cannot say whether they effect archivability of the film material...good-luck...
> >>
> >>Best,
> >>
> >>kerry
> >>
> >>
> >>--- On Tue, 12/23/08, marco poloni <email suppressed> wrote:
> >>
> >>> From: marco poloni <email suppressed>
> >>> Subject: how to tint 16mm b&w footage?
> >>> To: email suppressed
> >>> Date: Tuesday, December 23, 2008, 7:42 AM
> >>> Hello all,
> >>>
> >>> I just subscribed to frameworks. I am a visual artist and
> >>> filmmaker based in Berlin, Germany. I heard of your list
> >>> through a Chicago-based filmmaker friend of line, Peter
> >>> MIller.
> >>>
> >>> I have a tough one... I am looking for a laboaratory in or
> >>> outside of the US that has film tinting capabilities, i.e.
> >>> the tinting of b&w footage with color dyes. This was a
> >>> process much practised in the early days of cinema, to add
> >>> expressive quality to specific scenes, and also—to my
> >>> knowledge—to discriminate original films from unauthorised
> >>> copies.
> >>>
> >>> This is a rather obsolete process. The only filmmakers I
> >>> know of who used it are the Milan-based couple
> >>> Ricci&Gianikian.
> >>>
> >>> Would anyone have a tip here?
> >>>
> >>> Thanks, all best,
> >>> Marco
> >>>
> >>> ------------------------------------------------
> >>> Marco Poloni, Korsörer Strasse 1, D-10437 Berlin
> >>> gsm +41.78.6322028, skype marcopoloni
> >>>
> >>>
> >>> __________________________________________________________________
> >>> For info on FrameWorks, contact Pip Chodorov at
> >>> <email suppressed>.
> >>
> >>
> >>
> >>
> >>
> >>__________________________________________________________________
> >>For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
> >
> >
> >------------------------------------------------
> >Marco Poloni, Korsörer Strasse 1, D-10437 Berlin
> >gsm +41.78.6322028, skype marcopoloni
> >
> >
> >__________________________________________________________________
> >For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>
>
> __________________________________________________________________
> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>
> ------------------------------
>
> Date: Tue, 23 Dec 2008 18:48:17 -0500
> From: marco poloni <email suppressed>
> Subject: Re: how to tint 16mm b&w footage?
>
> Hi Ed,
>
> Thanks for the valuable feedback. I definitely would experiment on a copy of my master.¨
>
> You know what? Your suggestion to project via a filter is simple, and damn smart! Thanks for this!
>
> Marco
>
> -----Original Message-----
> >From: Ed Inman <email suppressed>
> >Sent: Dec 23, 2008 2:29 PM
> >To: email suppressed
> >Subject: Re: how to tint 16mm b&w footage?
> >
> >Photographer's Formulary in the USA sells a variety of traditional B/W toner formulas:
> >
> >http://www.photoformulary.com/DesktopDefault.aspx
> >
> >Of course most people use these on paper these days. I would be hesitant to experiment on valuable footage, but I suppose some would work on film. There is a pretty good article on film tinting on Wiki:
> >
> >http://en.wikipedia.org/wiki/Film_tinting
> >
> >As an alternative, have you considered projecting with filters?
> >
> >Ed
> >
> >
> >
> >
> >
> >
> >-----Original Message-----
> >>From: marco poloni <email suppressed>
> >>Sent: Dec 23, 2008 12:42 PM
> >>To: email suppressed
> >>Subject: Re: how to tint 16mm b&w footage?
> >>
> >>Sounds like good tips, and like a lot of tinkering... i'll try to get that berg blue kit.
> >>Thanks a lot,
> >>Marco
> >>
> >>-----Original Message-----
> >>>From: Kerry Laitala <email suppressed>
> >>>Sent: Dec 23, 2008 11:14 AM
> >>>To: email suppressed
> >>>Subject: Re: how to tint 16mm b&w footage?
> >>>
> >>>Well, the Berg Blue toning kits work o.k., but it can be hard to get the red truly red and not pink. I've used several fabric dyes that produce good reaults-much cheaper, but I cannot say whether they effect archivability of the film material...good-luck...
> >>>
> >>>Best,
> >>>
> >>>kerry
> >>>
> >>>
> >>>--- On Tue, 12/23/08, marco poloni <email suppressed> wrote:
> >>>
> >>>> From: marco poloni <email suppressed>
> >>>> Subject: how to tint 16mm b&w footage?
> >>>> To: email suppressed
> >>>> Date: Tuesday, December 23, 2008, 7:42 AM
> >>>> Hello all,
> >>>>
> >>>> I just subscribed to frameworks. I am a visual artist and
> >>>> filmmaker based in Berlin, Germany. I heard of your list
> >>>> through a Chicago-based filmmaker friend of line, Peter
> >>>> MIller.
> >>>>
> >>>> I have a tough one... I am looking for a laboaratory in or
> >>>> outside of the US that has film tinting capabilities, i.e.
> >>>> the tinting of b&w footage with color dyes. This was a
> >>>> process much practised in the early days of cinema, to add
> >>>> expressive quality to specific scenes, and also—to my
> >>>> knowledge—to discriminate original films from unauthorised
> >>>> copies.
> >>>>
> >>>> This is a rather obsolete process. The only filmmakers I
> >>>> know of who used it are the Milan-based couple
> >>>> Ricci&Gianikian.
> >>>>
> >>>> Would anyone have a tip here?
> >>>>
> >>>> Thanks, all best,
> >>>> Marco
> >>>>
> >>>> ------------------------------------------------
> >>>> Marco Poloni, Korsörer Strasse 1, D-10437 Berlin
> >>>> gsm +41.78.6322028, skype marcopoloni
> >>>>
> >>>>
> >>>> __________________________________________________________________
> >>>> For info on FrameWorks, contact Pip Chodorov at
> >>>> <email suppressed>.
> >>>
> >>>
> >>>
> >>>
> >>>
> >>>__________________________________________________________________
> >>>For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
> >>
> >>
> >>------------------------------------------------
> >>Marco Poloni, Korsörer Strasse 1, D-10437 Berlin
> >>gsm +41.78.6322028, skype marcopoloni
> >>
> >>
> >>__________________________________________________________________
> >>For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
> >
> >
> >__________________________________________________________________
> >For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>
>
> ------------------------------------------------
> Marco Poloni, Korsörer Strasse 1, D-10437 Berlin
> gsm +41.78.6322028, skype marcopoloni
>
>
> __________________________________________________________________
> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>
> ------------------------------
>
> End of FRAMEWORKS Digest - 23 Dec 2008 - Special issue (#2008-697)
> ******************************************************************
_________________________________________________________________
It’s the same Hotmail®. If by “same” you mean up to 70% faster.
http://windowslive.com/online/hotmail?ocid=TXT_TAGLM_WL_hotmail_acq_broad1_122008
__________________________________________________________________
For info on FrameWorks, contact Pip Chodorov at <email suppressed>.