From: Mark Toscano (email suppressed)
Date: Mon Jan 25 2010 - 13:31:27 PST
Western Cine convinced Brakhage to start making internegatives for his color films as early as 1968 or 1969 (he had made dupe negs of most of his b/w films since the very beginning), which is early and unusual, particularly for an independent artist. But Stan always had the longevity of his films in mind.
So starting in about 1969-70, it's less common to find extant reversal prints (7387 "Kodachrome" prints) of his color films, making those prints all the more precious, especially for me, in trying to evaluate the various looks of the work in print form as I approach the restorations. Stan would answer print to reversal, approve the timing, then have the lab make an interneg with those lights built in, so the interneg prints would be one-lights. Pretty standard then, not as easy now, since you can no longer do that reversal answer print before making your interneg.
At least for my part, the thing that's been interesting (and relieving in a way) to discover is that Stan predominantly just wanted the prints to look like the originals, having shot them expertly, knowing what results he wanted, and also being open to unexpected results he may have occasionally been given. He never workprinted, always editing the original, so his editing choices were intensely informed by accepting the originals as they were, and working with and around that in a very direct and devoted way. As a result, my feeling has come to be that the prints, at their most well made, usually ended up mirroring the originals.
--- On Sun, 1/24/10, Fred Camper <email suppressed> wrote:
> From: Fred Camper <email suppressed>
> Subject: Re: [FRAMEWORKS] Plus-X Reversal for projector prints isn't a good idea.
> To: email suppressed
> Date: Sunday, January 24, 2010, 7:06 PM
> Quoting Freya <email suppressed>:
> > Basically from what I can tell this would mean you
> could shoot reversal. Edit it.... then finally make a
> print direct from that without any internegative. This
> would completely save you the need of workprints if
> you weren't in fear of a few scratches....
> Yes. Very many, I wouild guess most,
> experimental/avant-garde films up through the 1980s were
> made this way, including all or almost all of Brakhage's,
> Sonbert's, and the films of many others. And with care, you
> do not get scratches.
> Fred Camper
> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
For info on FrameWorks, contact Pip Chodorov at <email suppressed>.