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Date: Sun Jul 11 2010 - 10:00:13 PDT
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Today's Topics:
1. complex HD telecine question (Pip Chodorov)
2. Re: complex HD telecine question (Sam Wells)
3. Re: complex HD telecine question (edwin m)
4. Re: complex HD telecine question (Pip Chodorov)
5. Re: complex HD telecine question (Pip Chodorov)
6. Re: complex HD telecine question (Robert Houllahan)
7. Re: complex HD telecine question (Pip Chodorov)
8. Re: complex HD telecine question (Sam Wells)
9. Re: complex HD telecine question (Sam Wells)
10. Re: complex HD telecine question (Adam Hyman)
11. This week [July 10 - 18, 2010] in avant garde cinema
(Weekly Listing)
12. Re: complex HD telecine question (Robert Houllahan)
13. Re: complex HD telecine question (Robert Houllahan)
14. Eiki 16mm SL-0 power conversion us/uk (Joshua Yumibe)
15. Re: Eiki 16mm SL-0 power conversion us/uk (Robert Houllahan)
----------------------------------------------------------------------
Message: 1
Date: Sat, 10 Jul 2010 21:47:40 +0200
From: Pip Chodorov <email suppressed>
Subject: [Frameworks] complex HD telecine question
To: email suppressed
Message-ID: <p062408e9c85e7ce103bf@[192.168.0.12]>
Content-Type: text/plain; charset="us-ascii" ; format="flowed"
Dear FrameWorkers,
can anyone shed some light on this predicament?
I am working on a documentary which was shot on film and which
hopefully will be finished on film but our intermediate will be in
HD. This is because the source material is in 8mm, Super-8, 16mm and
Super-16, at 18, 24 and 25 frames per second, but we are finishing
everything on 35mm 24fps.
We did a telecine last week of five hours of footage running off the
Spirit Datacine at 24fps. The goal here was to have every frame of
film (no matter what speed at which it was shot) to be resolved to
one frame of HD, and from there we can work on the cadence, as one
would on an optical printer, for example doubling every third frame
if it was shot at 18fps. I was convinced we were recording at 24PFS.
But I just learned the lab made a mistake and recorded everything at
50i. That is: 25fps interlaced.
I assume that means that the Spirit created an extra half-frame every
12 frames, and that even if we deinterlace, we will still not be able
to conform our HD timeline frame-for-frame with our film footage.
Is the best solution to redo the whole telecine transfer? Or does
someone know if two decks can be cabled together and a dub made which
will recalculate at 24PFS with no extra half-frames, and no loss or
digital manipulation?
Thanks in advance,
Pip
PS: stick to film, it's cheaper and easier.
------------------------------
Message: 2
Date: Sat, 10 Jul 2010 15:59:40 -0400
From: Sam Wells <email suppressed>
Subject: Re: [Frameworks] complex HD telecine question
To: Experimental Film Discussion List <email suppressed>
Message-ID:
<email suppressed>
Content-Type: text/plain; charset="iso-8859-1"
You have an extra full frame every 24 another way to look at it. There is no
cadance issue there if field A = field B
But hell if you asked for 1:1 progressive you should get it, make them redo
it.
What did you transfer to ? Only D5HD should prevent tape recording to
interlaced
format.
Interlacing in 2010 is dead, no more, ex-parrot
-Sam
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Message: 3
Date: Sat, 10 Jul 2010 20:22:37 +0000
From: edwin m <email suppressed>
Subject: Re: [Frameworks] complex HD telecine question
To: <email suppressed>
Message-ID: <COL120-(address suppressed)>
Content-Type: text/plain; charset="iso-8859-1"
you can sort it out, but it might be a slight headache. if you
de-interlace the footage, you'll have 25p instead of 50i. the original progressive frames (that the scanner made) will
have been separated into fields & paired into new interlaced
frames (which the lab handed to you as video footage), & you'll just be separating those frames & using them to
put the old ones back together. once you have 25p, you can just create a 24p project in your editing software, import the footage & re-interpret it to run at 24p. you can then output the final stuff as 24p, & get a lab to write that to film. it might create more headaches though when you come to slow down or speed up already heavily re-interpreted footage to recreate 18p etc.
if it was me (& i hate standing up to labs!) i'd get them to re-do it though, & avoid the above
edwin
> Date: Sat, 10 Jul 2010 21:47:40 +0200
> To: email suppressed
> From: email suppressed
> Subject: [Frameworks] complex HD telecine question
>
> Dear FrameWorkers,
>
> can anyone shed some light on this predicament?
>
> I am working on a documentary which was shot on film and which
> hopefully will be finished on film but our intermediate will be in
> HD. This is because the source material is in 8mm, Super-8, 16mm and
> Super-16, at 18, 24 and 25 frames per second, but we are finishing
> everything on 35mm 24fps.
>
> We did a telecine last week of five hours of footage running off the
> Spirit Datacine at 24fps. The goal here was to have every frame of
> film (no matter what speed at which it was shot) to be resolved to
> one frame of HD, and from there we can work on the cadence, as one
> would on an optical printer, for example doubling every third frame
> if it was shot at 18fps. I was convinced we were recording at 24PFS.
> But I just learned the lab made a mistake and recorded everything at
> 50i. That is: 25fps interlaced.
>
> I assume that means that the Spirit created an extra half-frame every
> 12 frames, and that even if we deinterlace, we will still not be able
> to conform our HD timeline frame-for-frame with our film footage.
> Is the best solution to redo the whole telecine transfer? Or does
> someone know if two decks can be cabled together and a dub made which
> will recalculate at 24PFS with no extra half-frames, and no loss or
> digital manipulation?
>
> Thanks in advance,
> Pip
>
> PS: stick to film, it's cheaper and easier.
> _______________________________________________
> FrameWorks mailing list
> email suppressed
> http://mailman-mail5.webfaction.com/listinfo/frameworks
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Message: 4
Date: Sat, 10 Jul 2010 22:31:42 +0200
From: Pip Chodorov <email suppressed>
Subject: Re: [Frameworks] complex HD telecine question
To: Experimental Film Discussion List <email suppressed>
Message-ID: <p062408ebc85e8834ab21@[192.168.0.12]>
Content-Type: text/plain; charset="us-ascii" ; format="flowed"
Thanks but I still don't understand what happens to the extra frame.
Every second, I give the machine 24 pictures, and it creates a 25th.
If I put this 25p material into a 24p project, will it remove a
frame? The "right" frame?
I don't want reinterpreting here, just my original 24 frames in,
coming back out at 24.
I'm afraid I have to redo it.
But it's more than just telling the lab to redo it. I have to bring a
heavy suitcases of negative and positive and spend two nights with
the technician mounting each reel and indicating which shots we need.
Some shots are only a few seconds. I had put threads in the sprockets
which are removed now.
Etc...
At 20:22 +0000 10/07/10, edwin m wrote:
>you can sort it out, but it might be a slight headache. if you
>de-interlace the footage, you'll have 25p instead of 50i. the
>original progressive frames (that the scanner made) will have been
>separated into fields & paired into new interlaced frames (which the
>lab handed to you as video footage), & you'll just be separating
>those frames & using them to put the old ones back together. once
>you have 25p, you can just create a 24p project in your editing
>software, import the footage & re-interpret it to run at 24p. you
>can then output the final stuff as 24p, & get a lab to write that to
>film. it might create more headaches though when you come to slow
>down or speed up already heavily re-interpreted footage to recreate
>18p etc.
------------------------------
Message: 5
Date: Sat, 10 Jul 2010 22:43:48 +0200
From: Pip Chodorov <email suppressed>
Subject: Re: [Frameworks] complex HD telecine question
To: Experimental Film Discussion List <email suppressed>
Message-ID: <p062408eec85e8b5466e2@[192.168.0.12]>
Content-Type: text/plain; charset="us-ascii" ; format="flowed"
It reminds me of that old Vanishing Leprechan puzzle.
http://www.math.duke.edu/~blake/leprechauns/vanishing_leprechaun1.htm
Just by swapping the two top cards, 15 leprechauns become 14.
I wish it were that easy!
------------------------------
Message: 6
Date: Sat, 10 Jul 2010 16:44:57 -0400
From: Robert Houllahan <email suppressed>
Subject: Re: [Frameworks] complex HD telecine question
To: Experimental Film Discussion List <email suppressed>
Message-ID: <email suppressed>
Content-Type: text/plain; charset=us-ascii; format=flowed; delsp=yes
If you have the film as a QuickTime and it was transfered at 25fps
film run to 25frame HD you can use apple cinema tools to change the
frame rate to 24fps. This is an instant change to the QuickTime header
and does no require a recompression or other time consuming render.
Load the clip into cinema tools and then find the conform button at
the lower right. A dialog box will come up with options to change the
clip speed to 24.98, 24, 29.97, 30 select the speed and hit ok and the
speed is changed.
Rob
Robert Houllahan Film
www.lunarfilms.com
www.cinelab.com
Mapple iTelephone sent
On Jul 10, 2010, at 4:31 PM, Pip Chodorov <email suppressed>
wrote:
> Thanks but I still don't understand what happens to the extra frame.
> Every second, I give the machine 24 pictures, and it creates a 25th.
>
------------------------------
Message: 7
Date: Sat, 10 Jul 2010 22:48:56 +0200
From: Pip Chodorov <email suppressed>
Subject: Re: [Frameworks] complex HD telecine question
To: Experimental Film Discussion List <email suppressed>
Message-ID: <p062408f0c85e8ccabe6c@[192.168.0.12]>
Content-Type: text/plain; charset="us-ascii" ; format="flowed"
Thanks so much Robert ,
I know about cinema tools and this will help us conform the interview
footage shot at 25fps with the rest shot at 24...
But in this case, the footage was transfered at 24fps to a 25fps tape! Argh!
At 16:44 -0400 10/07/10, Robert Houllahan wrote:
>If you have the film as a QuickTime and it was transfered at 25fps
>film run to 25frame HD you can use apple cinema tools to change the
>frame rate to 24fps. This is an instant change to the QuickTime header
>and does no require a recompression or other time consuming render.
------------------------------
Message: 8
Date: Sat, 10 Jul 2010 16:51:01 -0400
From: Sam Wells <email suppressed>
Subject: Re: [Frameworks] complex HD telecine question
To: Experimental Film Discussion List <email suppressed>
Message-ID:
<email suppressed>
Content-Type: text/plain; charset="iso-8859-1"
I'm having a D'oh moment here. Yes Rob. What was I not thinking ? :-0
-Sam
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Message: 9
Date: Sat, 10 Jul 2010 17:16:53 -0400
From: Sam Wells <email suppressed>
Subject: Re: [Frameworks] complex HD telecine question
To: Experimental Film Discussion List <email suppressed>
Message-ID:
<email suppressed>
Content-Type: text/plain; charset="iso-8859-1"
24 > 25 ?
They owe you.
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Message: 10
Date: Sat, 10 Jul 2010 16:15:24 -0700
From: Adam Hyman <email suppressed>
Subject: Re: [Frameworks] complex HD telecine question
To: Experimental Film Discussion List <email suppressed>
Message-ID: <email suppressed>
Content-Type: text/plain; charset="US-ASCII"
Don't transfer things shot at 24 fps in Europe where things are 25fps.
On 7/10/10 1:48 PM, "Pip Chodorov" <email suppressed> wrote:
> Thanks so much Robert ,
> I know about cinema tools and this will help us conform the interview
> footage shot at 25fps with the rest shot at 24...
> But in this case, the footage was transfered at 24fps to a 25fps tape! Argh!
>
> At 16:44 -0400 10/07/10, Robert Houllahan wrote:
>> If you have the film as a QuickTime and it was transfered at 25fps
>> film run to 25frame HD you can use apple cinema tools to change the
>> frame rate to 24fps. This is an instant change to the QuickTime header
>> and does no require a recompression or other time consuming render.
> _______________________________________________
> FrameWorks mailing list
> email suppressed
> http://mailman-mail5.webfaction.com/listinfo/frameworks
------------------------------
Message: 11
Date: Sat, 10 Jul 2010 17:24:44 -0700 (PDT)
From: email suppressed (Weekly Listing)
Subject: [Frameworks] This week [July 10 - 18, 2010] in avant garde
cinema
To: email suppressed
Message-ID: <email suppressed>
This week [July 10 - 18, 2010] in avant garde cinema
To subscribe/unsubscribe to the weekly listing, go to
http://www.hi-beam.net/cgi-bin/mailto.pl?mailto=subscribe
or send an email to (address suppressed)-beam.net.
Enter your announcements (calls for entries, new work, screenings,
jobs, items for sale, etc.) at:
http://www.hi-beam.net/cgi-bin/ann.pl
NEW FILM/VIDEO: NON-FEATURE:
============================
"Train Diary" by Stratis Chatzielenoudas
http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=423.ann
"Fool in the box videoclip" by Stratis
http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=424.ann
"Subject is known by what she sees" by Stratis Chatzielenoudas
http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=425.ann
"The poetry of earth is never dead" by Stratis Chatzielenoudas
http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=426.ann
"01/15/08" by Stratis Chatzielenoudas
http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=427.ann
"Every four frames" by Alberto Cabrera Bernal
http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=428.ann
"12 Erased Trailers" by Alberto Cabrera Bernal
http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=429.ann
"Perforations" by Alberto Cabrera Bernal
http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=430.ann
"Summer Cold" by Visto desde el Zaguán
http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=431.ann
JOB AVAILABLE:
==============
University of Missouri - Kansas City
http://www.hi-beam.net/cgi-bin/ann.pl?type=jobs&readfile=2.ann
NEW CALLS FOR ENTRIES:
=====================
The Accolade Competition (La Jolla, CA, USA; Deadline: August 27, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1190.ann
DEADLINES APPROACHING:
======================
Around the Coyote Fall Festival 2010 (Chicago; Deadline: July 21, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1109.ann
6th Renderyard Short Film Festival (London; Deadline: July 31, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1133.ann
Basement Media Festival (Cambridge, Massachusetts, USA; Deadline: July 24, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1155.ann
Lucca Film Festival 2010 (Lucca, Tuscany - Italy; Deadline: July 31, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1163.ann
Black Rock City Film Festival (Black Rock City - Burning Man; Deadline: July 15, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1172.ann
Indie Fest (La Jolla, CA, USA; Deadline: July 30, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1179.ann
Toronto Urban Film Festival (TUFF) (Toronto, Ontario, Canada; Deadline: July 15, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1180.ann
Images Festival (Toronto, Ontario, CANADA; Deadline: August 01, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1185.ann
Journal of Short Film (Columbus, Ohio, USA; Deadline: July 31, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1187.ann
ETC Media Artists Residency (Newark Valley, NY, USA; Deadline: July 15, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1189.ann
Enter your event announcements by going to the Flicker Weekly Listing Form
at http://www.hi-beam.net/cgi-bin/thisweek.pl
Also available online at Flicker: http://www.hi-beam.net
THIS WEEK'S PROGRAMS (SUMMARY):
==============================
* Essential Cinema: Harry Smith Program [July 10, New York]
* Heaven and Earth Magic [July 10, New York]
* Phil Solomon: Rhapsodies In Silver [July 10, Washington, DC]
* 21st Century Limited: Experimental Films 2000-2009: Program One [July 11, New York, New York]
* 21st Century Limited: Experimental Films 2000-2009: Program Two [July 11, New York, New York]
* Essential Cinema: Kenneth Anger Program [July 11, New York]
* Essential Cinema: Kenneth Anger Program [July 11, New York]
* Phil Solomon: Rhapsodies In Silver [July 11, Washington, DC]
* Phil Solomon: Rhapsodies In Silver [July 12, Washington, DC]
* The Color of Pomegranates [July 14, New York]
* News From Navarra: A Showcase of Punto De vista's Anti-Documentary
Documentaries [July 16, New York, New York]
* Essential Cinema: Flaming Creatures [July 16, New York]
* Essential Cinema: Flaming Creatures [July 16, New York]
* Essential Cinema: Wavelength [July 17, New York]
* The Color of Pomegranates [July 17, New York]
* Essential Cinema: Back and Forth [July 17, New York]
* Night Light: Multimedia Garden Party [July 17, San Francisco, California]
* Chris Kennedy: Eight Films [July 18, Los Angeles, California]
* 21st Century Limited: Experimental Films 2000-2009: Program Three [July 18, New York, New York]
* 21st Century Limited: Experimental Films 2000-2009: Program Four [July 18, New York, New York]
* Essential Cinema: Triumph of the Will [July 18, New York]
* Essential Cinema: Triumph of the Will [July 18, New York]
Events are sorted by CITY within each DATE.
-----------------------
SATURDAY, JULY 10, 2010
-----------------------
7/10
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
6:15 pm, 32 2nd Avenue
ESSENTIAL CINEMA: HARRY SMITH PROGRAM
EARLY ABSTRACTIONS (1941-57, 23 minutes, 16mm) Preserved by Anthology
Film Archives with support from the National Film Preservation
Foundation. MIRROR ANIMATIONS (extended 1979 version, 11 minutes, 35mm)
NEW PRINT! LATE SUPERIMPOSITIONS (1964, 28 minutes, 16mm) OZ, THE TIN
WOODMAN'S DREAM (1967, 15 minutes, 35mm) "My cinematic excreta is of
four varieties: – batiked animations made directly on film between 1939
and 1946; optically printed non-objective studies composed around 1950;
semi-realistic animated collages made as part of my alchemical labors of
1957 to 1962; and chronologically super-imposed photographs of
actualities formed since the latter year. All these works have been
organized in specific patterns derived from the interlocking beats of
the respiration, the heart and the EEG Alpha component and should be
observed together in order, or not at all, for they are valuable works,
works that will forever abide – they made me gray." –Harry Smith Total
running time: ca. 80 minutes
7/10
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
8:15 pm, 32 2nd Avenue
HEAVEN AND EARTH MAGIC
by Harry Smith 1950-61, 66 minutes, 16mm. Preserved by Anthology Film
Archives with support from the National Film Preservation Foundation and
Cineric, Inc. "NO. 12 can be seen as one moment – certainly the most
elaborately crafted moment – of the single alchemical film which is
Harry Smith's life work. In its seriousness, its austerity, it is one of
the strangest and most fascinating landmarks in the history of cinema.
Its elaborately constructed soundtrack in which the sounds of various
figures are systematically displaced onto other images reflects Smith's
abiding concern with auditory effects." –P. Adams Sitney
7/10
Washington, DC: National Gallery of Art
http://www.nga.gov
3pm, 4th & Constitution Avenue NW
PHIL SOLOMON: RHAPSODIES IN SILVER
Over a three-decade career, filmmaker Phil Solomon has established
himself as one of the great visionary artists of American experimental
cinema. Solomon employs both photochemical manipulation and
re-photography of the filmstrip to make haunting, expressionistic films.
More recently he has expanded his horizons into machinima, digital art
derived from videogame software. Program 1: Elegies; Includes American
Falls (2010), Crossroad (2005), and other films. Total running time 103
minutes
---------------------
SUNDAY, JULY 11, 2010
---------------------
7/11
New York, New York: Film Society of Lincoln Center
http://www.filmlinc.com
6:30pm, 165 West 65th Street, upper level
21ST CENTURY LIMITED: EXPERIMENTAL FILMS 2000-2009: PROGRAM ONE
Drawn from Film Comment's best-of-the-decade poll, six programs showcase
some of the most memorable experimental works from the first decade of
the 21st century. Don't miss this rare opportunity to experience
beautiful, provocative, and poetic works by masterful artists, new and
old. These programs feature works selected from the May/June 2010 Film
Comment poll "A Decade in the Dark—Avant-Garde Film and Video 2000-2009.
PROGRAM ONE: PICTURES OF QUIET LIGHT TRT: 83m/ 6:30pm In person: David
Gatten Song and Solitude Nathaniel Dorsky, 2005/6, 21m. The Great Art of
Knowing David Gatten, 2004, 37m. Pitcher of Colored Light Robert
Beavers, 2007, U.S./Switzerland, 25m. 1. A song of the earth and
departure in the heart of dusk. 2. Breaking ground, a broken heart, and
the foundations of higher learning. The ghosts that lie between
whispering pages. 3. Facing home, and the most familiar face, twilight
returns.
7/11
New York, New York: Film Society of Lincoln Center
http://www.filmlinc.com
8:30pm, 165 West 65th Street, upper level
21ST CENTURY LIMITED: EXPERIMENTAL FILMS 2000-2009: PROGRAM TWO
Drawn from Film Comment's best-of-the-decade poll, six programs showcase
some of the most memorable experimental works from the first decade of
the 21st century. Don't miss this rare opportunity to experience
beautiful, provocative, and poetic works by masterful artists, new and
old. These programs feature works selected from the May/June 2010 Film
Comment poll "A Decade in the Dark—Avant-Garde Film and Video 2000-2009.
PROGRAM TWO: BREAKING THE WAVES TRT: 129m/8:30pm In person: Jeanne
Liotta Observando el cielo Jeanne Liotta, 2007, 19m At Sea Peter Hutton,
2004-07, U.S./South Korea/Bangladesh, 60m The God of Day Had Gone Down
Upon Him Stan Brakhage, 2000, Canada/U.S., 50m 1. Liotta's Night Watch.
Radio Waves and Constellations. When you wish upon a star, the skies
rise and shine. 2. Former Merchant Marine Hutton follows the life of a
sea vessel from the cradle to the grave. 3. Brakhage returns to his
wife's childhood haunts, reading the ocean for signs of life, a
submerged biography written in the waves, silently told in tidal
passages.
7/11
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
6:30 pm, 32 2nd Avenue
ESSENTIAL CINEMA: KENNETH ANGER PROGRAM
FIREWORKS (1947, 20 minutes, 35mm, b&w) RABBIT'S MOON (1950-70, 15
minutes, 35mm) EAUX D'ARTIFICE (1953, 13 minutes, 16mm) SCORPIO RISING
(1963, 30 minutes, 35mm) Poetry, psychodrama, and the occult meet in
these timeless works by one of the pioneers of the American avant-garde
film. Total running time: ca. 80 minutes.
7/11
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
8:30 pm, 32 2nd Avenue
ESSENTIAL CINEMA: KENNETH ANGER PROGRAM
See program notes for 6:30 pm.
7/11
Washington, DC: National Gallery of Art
http://www.nga.gov
4:30pm, 4th & Constitution Avenue NW
PHIL SOLOMON: RHAPSODIES IN SILVER
Over a three-decade career, filmmaker Phil Solomon has established
himself as one of the great visionary artists of American experimental
cinema. Solomon employs both photochemical manipulation and
re-photography of the filmstrip to make haunting, expressionistic films.
More recently he has expanded his horizons into machinima, digital art
derived from videogame software. Program 2: Lullabies ; Includes
Twilight Psalm II: Walking Distance (1999), Seasons... (2002), and other
films. Total running time 86 minutes
---------------------
MONDAY, JULY 12, 2010
---------------------
7/12
Washington, DC: National Gallery of Art
http://www.nga.gov
1pm, 4th & Constitution Avenue NW
PHIL SOLOMON: RHAPSODIES IN SILVER
Over a three-decade career, filmmaker Phil Solomon has established
himself as one of the great visionary artists of American experimental
cinema. Solomon employs both photochemical manipulation and
re-photography of the filmstrip to make haunting, expressionistic films.
More recently he has expanded his horizons into machinima, digital art
derived from videogame software. Program 3: Nocturnes / Includes What's
Out Tonight Is Lost (1983), Nocturne (1980/1989), and other films. Total
running time 76 minutes
------------------------
WEDNESDAY, JULY 14, 2010
------------------------
7/14
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
9:15 pm, 32 2nd Avenue
THE COLOR OF POMEGRANATES
by Sergei Paradjanov 1968, 79 minutes, 35mm. In Armenian with English
subtitles. Representing one extreme within the spectrum of innovative
approaches to the biographical film, Paradjanov's masterpiece pays
tribute to the 18th-century Armenian poet Sayat Nova by means of a
series of striking, mysterious, and enigmatic tableaux, evoking the
poet's childhood and youth, his days as a troubadour at the court of
King Heraclius II of Georgia, his retreat to a monastery, and his old
age and death, as well as suggesting something of the nature of his
sensibility. POMEGRANATES is arguably the most radical and visionary of
all biographical films.
---------------------
FRIDAY, JULY 16, 2010
---------------------
7/16
New York, New York: Millennium Film Workshop
http://www.millenniumfilm.org/
7.30 pm, 66 East 4th Street
NEWS FROM NAVARRA: A SHOWCASE OF PUNTO DE VISTA'S ANTI-DOCUMENTARY
DOCUMENTARIES
Millennium Film Workshop is proud to present a program of new Spanish
experimental non-fiction, in conjunction with the festival Punto de
Vista, selected by Doctruck and Uniondocs, and co-presented with Pragda.
---The Punto de Vista Documentary Film Festival is an annual festival
held in Navarra dedicated to forms of cinema generically grouped under
the heading of 'documentary.' Programmed by Artistic Director Jostexo
Cerdán, films come from around the world, with an emphasis on finding
rarities in form and subject. The festival seeks to reward risk-taking
and non-narrative approaches, and to uncover glints in Spanish and World
Cinema. -------PROGRAM-----AMANAR TAMASHEQ, Directed by Lluis Escartin,
2010, 15mins. Lluis Escartín's AMANAR TAMASHEQ communicates a highly
political message by respectful and reflexive means, delivered in an
intelligent and poetic combination of sound and image. Escartin lived
with Tuareg rebels in the desert of Mali, and turned his camera on them
in order to bring back their messages -- to the degree that the
mistranslations of language and history allow.--------- LOS MATERIALES,
Directed by Los Hijos, 2009, 67 mins, DVD. LOS MATERIALES explores an
empty landscape around the reservoir of Riaño, in the province of León,
in which the former town and nine other villages lie submerged as a
consequence of a flood in 1987. The three members of Los Hijos, a young
experimental filmmaking collective from Madrid, spent a year walking the
area, and the resulting work is a spare, diffuse document of a village
just below the surface of history. Subtitles replace dialogue, leaving
the occasional background noise as the sole sound source, and the story
reliant on written text. "Interesting and fearless, lively and
stimulating, the film's purpose is the exploration of Riaño, not only to
dismember its dramatic structure but its semantic field.... The
recovering of village's history turns out to be impossible, just
suggested, almost abstract, while the movie's plot drives to
metacinematographic issues and ends -in a mysterious, strange and
disconcerting turn- becoming a terror history." –Cahiers du cinema,
España. ----------- Discussion to follow with Josetxo Cerdán, María
Adell of PRAGDA, and Spanish Film Critic Manu Yáñez. Admission: $8/$6
members
7/16
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30 pm, 32 2nd Avenue
ESSENTIAL CINEMA: FLAMING CREATURES
SCOTCH TAPE 1962, 3 minutes, 16mm. Junkyard musical. & FLAMING CREATURES
1963, 45 minutes, 16mm, b&w, sound. '[Smith] graced the anarchic
liberation of new American cinema with graphic and rhythmic power worthy
of the best of formal cinema. He has attained for the first time in
motion pictures a high level of art which is absolutely lacking in
decorum; and a treatment of sex which makes us aware of the restraint of
all previous filmmakers." –FILM CULTURE
7/16
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
8:45 pm, 32 2nd Avenue
ESSENTIAL CINEMA: FLAMING CREATURES
See notes for 7:30 pm.
-----------------------
SATURDAY, JULY 17, 2010
-----------------------
7/17
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:00 pm, 32 2nd Avenue
ESSENTIAL CINEMA: WAVELENGTH
by Michael Snow 1967, 45 minutes, 16mm. "[It] is without precedent in
the purity of its confrontation with the essence of cinema: the
relationships between illusion and fact, space and time, subject and
object. It is the first post-Warhol, post-Minimal movie; one of the few
films to engage those higher conceptual orders which occupy modern
painting and sculpture. It has rightly been described as a 'triumph of
contemplative cinema'." –Gene Youngblood, L.A. FREE PRESS
7/17
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:15 pm, 32 2nd Avenue
THE COLOR OF POMEGRANATES
See notes for July 14th, 9:15 pm.
7/17
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
8:15 pm, 32 2nd Avenue
ESSENTIAL CINEMA: BACK AND FORTH
by Michael Snow 1969, 52 minutes, 16mm. "...This neat, finely tuned,
hypersensitive film examines the outside and inside of a banal prefab
classroom, stares at an asymmetrical space so undistinguished that it's
hard to believe the whole movie is confined to it, and has this
neckjerking camera gimmick which hits a wooden stop arm at each end of
its swing. Basically it's a perpetual motion film which ingeniously
builds a sculptural effect by insisting on time-motion to the point
where the camera's swinging arcs and white wall field assume the
hardness, the dimensions of a concrete beam. "In such a hard, drilling
work, the wooden clap sounds are a terrific invention, and, as much as
any single element, create the sculpture. Seeming to thrust the image
outward off the screen, these clap effects are timed like a metronome,
sometimes occurring with torrential frequency." –Manny Farber, ARTFORUM
7/17
San Francisco, California: SOMARTS Gallery
http://www.somarts.org/2010/06/29/night-light-multimedia-garden-party-july-17/
9pm-1am, 934 Brannan St
NIGHT LIGHT: MULTIMEDIA GARDEN PARTY
SOMArts Cultural Center's Main Gallery Exhibitions & Programs presents
"Night Light: Multimedia Garden Party," a one-night-only special event
exploring temporary multimedia abstract sound, video, and film
installations set in the garden and gallery. "Night Light" presents
site-specific film installations spilling through the bamboo grove and
on monitors sprinkled throughout the driveway, as well as ambient sound
performances and amorphous video projections. The videos all feature a
collection of locally produced video art installations with a grouping
co-curated by Stephen Parr from the Oddball Films archive. Kerry Laitala
premiere's a new 3-D video projection titled "Afterimage: A Flicker of
Life," with soundtrack by Wobbly and Laitala, additional Laitala films
to be screened include "Chromatic Cocktail Extra Fizzy" and "Chromatic
Frenzy" accompanied by live sound by Cloud Archive as well as two new
installations, "Mercurial Madness" and "Chromatastic." The
one-night-only exhibition was conceived of by SOMArts Curator and
Gallery Director Justin Hoover. Featured artists include Mauricio and
Christine Ancalmo, Lucca Antonucci, Paul Clipson, Jon Grover, Justin
Hurty, Scott Kildall, Lynn Marie Kirby, Kerri Laitala, Peter Max
Lawrence, Conrad Meyers II, Stephen Parr, Skye Thorstensen, and Bryan
Van Reuter/Cloud Archive and a special live performance titled 100 Songs
by Ajna Lichau and Bryson Hansen. "Night Light" investigates a strong
local subgenre of sound and installation art in San Francisco that
explores visual, light and sound installation art from a place of true
abstraction, unhinging the confines of their art from conventions such
as painterly formalism, sculptural composition, and time-based editing
formalism. The one-night event was timed to coincide with the month-long
exhibition "Totally Unrealistic: the art of abstraction," which will be
on display in the SOMArts Main Gallery through July.
---------------------
SUNDAY, JULY 18, 2010
---------------------
7/18
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
7:30 pm, Egyptian Theatre, 6712 Hollywood Blvd. at Las Palmas
CHRIS KENNEDY: EIGHT FILMS
Made over the course of six years, these recent films by Toronto-based
filmmaker Chris Kennedy investigate how meaning is made and how the
world is seen. Concentrating either on the documents that construct a
history or on the elements that create an image, his films propose a
variety of ways to re-see what is right before our eyes. Featuring the
Los Angeles premieres of most of these films. Chris Kennedy in person!
Including Jane's Window (2005, 35mm, 11 min. silent); Tamalpais (2009,
16mm, 14 min.); lay claim to an island (2009, 16mm on video, 12 min.);
and more.
7/18
New York, New York: Film Society of Lincoln Center
http://www.filmlinc.com
6:30pm, 165 West 65th Street, upper level
21ST CENTURY LIMITED: EXPERIMENTAL FILMS 2000-2009: PROGRAM THREE
Drawn from Film Comment's best-of-the-decade poll, six programs showcase
some of the most memorable experimental works from the first decade of
the 21st century. Don't miss this rare opportunity to experience
beautiful, provocative, and poetic works by masterful artists, new and
old. These programs feature works selected from the May/June 2010 Film
Comment poll "A Decade in the Dark—Avant-Garde Film and Video 2000-2009.
PROGRAM THREE: I'LL KEEP IT WITH MINE TRT: 95m/6:30pm She Puppet Peggy
Ahwesh, 2001, 17m. Nest of Tens Miranda July, 2000, 27m. Poetry and
Truth Peter Kubelka, 2003, Austria, 13m. Instructions for a Light and
Sound Machine Peter Tscherkassky, 2005, Austria, 17m. The General
Returns From One Place to Another Michael Robinson, 2006, 11m.
Rehearsals for Retirement Phil Solomon, 2007, 10m. Thunder in the
distance, mystery in the air we breathe. 1. Lara Croft walks through a
field of fire. 2. Venus flytraps of the quotidian. 3. Living waxworks
advertising the accursed eternities of household nirvanas. 4. A descent
into the Western Lands—Spaghetti Hades. 5. Frank O'Hara meets the
Hollies. 6. In the hidden margins of Grand Theft Auto, past the
landscapes of mayhem, beyond the valley of Death, a human chrysalis
sheds its skin and plunges into the next world without a final goodbye.
7/18
New York, New York: Film Society of Lincoln Center
http://www.filmlinc.com
8:45pm, 165 West 65th Street, upper level
21ST CENTURY LIMITED: EXPERIMENTAL FILMS 2000-2009: PROGRAM FOUR
Drawn from Film Comment's best-of-the-decade poll, six programs showcase
some of the most memorable experimental works from the first decade of
the 21st century. Don't miss this rare opportunity to experience
beautiful, provocative, and poetic works by masterful artists, new and
old. These programs feature works selected from the May/June 2010 Film
Comment poll "A Decade in the Dark—Avant-Garde Film and Video 2000-2009.
PROGRAM FOUR: SOME VELVET MORNING TRT: 80m/8:45pm Trees of Syntax,
Leaves of Axis Daichi Saito, 2009, Canada, 10m. Easter Morning Bruce
Conner, 2008, 10m. False Aging Lewis Klahr, 2008, 14.5m. Black and White
Trypps Number Three Ben Russell, 2007, 12m. Light Work I Jennifer
Reeves, 2006, 8m. Lumphini 2552 Tomanari Nishikawa, Japan, 2009, 2.5m.
Horizontal Boundaries Pat O'Neill, 2008, 23m. Fruit from the Tree of
Knowledge. Transcendence and Transport. Taking the less beaten path,
music provides the backbeat and opens up the gates. Music by Malcolm
Goldstein, Terry Riley, Jefferson Airplane, Lightning Bolt, Anthony
Burr, and Carl Stone, among others.
7/18
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
5:30 pm, 32 2nd Avenue
ESSENTIAL CINEMA: TRIUMPH OF THE WILL
by Leni Riefenstahl 1934-35, 106 minutes, 35mm, b&w. "The official Nazi
record of the 1934 Nuremberg Party rally, commissioned by Hitler and
directed by Leni Riefenstahl, [it] is one of the most controversial
contributions to film history because of its subject matter – her
insistence that the film is solely a work of art and not propaganda; and
the presentation of the subject matter – the manipulation of reality in
this 'documentary' record. The contributions to the art of film this
work has to offer are closely tied to the controversies. [It] is a
masterpiece of style and editing, which in turn are the very techniques
used to manipulate reality and create emotionally effective propaganda."
–Marie Saeli
7/18
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:45 pm, 32 2nd Avenue
ESSENTIAL CINEMA: TRIUMPH OF THE WILL
See notes for 5:30 pm.
Enter your event announcements by going to the Flicker Weekly Listing Form
at http://www.hi-beam.net/cgi-bin/thisweek.pl
The weekly listing is also available online at Flicker:
http://www.hi-beam.net
------------------------------
Message: 12
Date: Sat, 10 Jul 2010 23:07:18 -0400
From: Robert Houllahan <email suppressed>
Subject: Re: [Frameworks] complex HD telecine question
To: Experimental Film Discussion List <email suppressed>
Message-ID: <email suppressed>
Content-Type: text/plain; charset=us-ascii; format=flowed; delsp=yes
That is crazy I have never heard of doing 24 to 25 frame transfer even
though it is technically possible (Cintel and Spirit servos can be set
to any speed) I think you should go back and ask for a 25fps film
speed to 25fps video so there are no extra frames. Was it a real
telecine or something else ?
Rob
Robert Houllahan Film
www.lunarfilms.com
www.cinelab.com
Mapple iTelephone sent
On Jul 10, 2010, at 4:48 PM, Pip Chodorov <email suppressed>
wrote:
> Thanks so much Robert ,
> I know about cinema tools and this will help us conform the interview
> footage shot at 25fps with the rest shot at 24...
> But in this case, the footage was transfered at 24fps to a 25fps
> tape! Argh!
>
> At 16:44 -0400 10/07/10, Robert Houllahan wrote:
>> If you have the film as a QuickTime and it was transfered at 25fps
>> film run to 25frame HD you can use apple cinema tools to change the
>> frame rate to 24fps. This is an instant change to the QuickTime
>> header
>> and does no require a recompression or other time consuming render.
> _______________________________________________
> FrameWorks mailing list
> email suppressed
> http://mailman-mail5.webfaction.com/listinfo/frameworks
------------------------------
Message: 13
Date: Sat, 10 Jul 2010 23:12:17 -0400
From: Robert Houllahan <email suppressed>
Subject: Re: [Frameworks] complex HD telecine question
To: Experimental Film Discussion List <email suppressed>
Message-ID: <email suppressed>
Content-Type: text/plain; charset=us-ascii; format=flowed; delsp=yes
I just read the original that it was on a Spirit this is clearly a
case of a free redo to 24fps video there should be no questions or
excuses.
Rob
Robert Houllahan Film
www.lunarfilms.com
www.cinelab.com
Mapple iTelephone sent
On Jul 10, 2010, at 5:16 PM, Sam Wells <email suppressed> wrote:
> 24 > 25 ?
>
> They owe you.
>
> _______________________________________________
> FrameWorks mailing list
> email suppressed
> http://mailman-mail5.webfaction.com/listinfo/frameworks
------------------------------
Message: 14
Date: Sun, 11 Jul 2010 09:53:55 -0400
From: Joshua Yumibe <email suppressed>
Subject: [Frameworks] Eiki 16mm SL-0 power conversion us/uk
To: email suppressed
Message-ID: <email suppressed>
Content-Type: text/plain; charset=us-ascii
Hi,
Technical question: I'm in the process of moving to the UK (Scotland), and I was wondering if anyone has advice for power conversions on an Eiki 16mm SL-0. It's a US model, so it's 120v, total wattage according to the tag is .43kw (4300 watts). I could buy a 120/240v 5000w converter I suppose, or possibly try to swap the power supply if I could track one down. Though that might cost more than I actually paid for the projector. Or I could simply leave it stateside with a friend, though I'd like to take it.
Any suggestions, dealing with power conversions on these things, would be much appreciated.
Josh Yumibe
email suppressed
------------------------------
Message: 15
Date: Sun, 11 Jul 2010 10:25:06 -0400
From: Robert Houllahan <email suppressed>
Subject: Re: [Frameworks] Eiki 16mm SL-0 power conversion us/uk
To: Experimental Film Discussion List <email suppressed>
Message-ID: <email suppressed>
Content-Type: text/plain; charset=us-ascii
> conversions on an Eiki 16mm SL-0. It's a US model, so it's 120v, total wattage according to the tag is .43kw (4300 watts).
That is 430 watts not 4300 watts.....
-Rob-
Robert Houllahan
www.cinelab.com
www.lunarfilms.com
------------------------------
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FrameWorks mailing list
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End of FrameWorks Digest, Vol 2, Issue 52
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