amanda, that's soo great, thanks a lot for sharing all that!!
i'm very excited to try it out
also had a look at your other films, they are wonderful as well!
and thanks jason, that's also really helpful, i think now i got it :)
-------- Original-Nachricht --------
> Datum: Mon, 4 Apr 2011 01:17:35 -0300
> Von: Amanda Christie <amanda_at_amandadawnchristie.ca>
> An: Experimental Film Discussion List <frameworks_at_jonasmekasfilms.com>
> Betreff: Re: [Frameworks] color separation
> Ah yes... doing it all in camera from the get go and the filters...
>
> > do you know what it would look like if i shoot the red, green and
> > blue movement all on one strip of film, rewinding and changing the
> > filter after each shot? and then also print it three times - but why
> > do you need the filters here again??
>
>
> yes... absolutely... it does not have to be nearly as complicated as
> the process I used in 3part harmony. It can be quite simple really.
> You can see some other examples (more fluid and less precise) of
> colour separation in the openning sequence of my film "Fallen
> Flags" (the first minute is black, but after that, the roof of a
> train is colour separated from a single piece of colour source film.
> You can also see an example of colour separation from a single piece
> of black and white in my film "Knowledge of Good and Evil" (the scene
> where I am swimming toward the camera under water and the colours
> trail from my hands and arms)
>
> I'll try to quickly describe a bit more clearly about additive and
> subtractive primaries and how the filters work.
>
> LIGHT AND COLOUR:
> all light (even seemingly white or colourless light) is made up of
> various colours.
>
> ADDITIVE PRIMARIES: Red, Green, and Blue (RGB)
> Red + Green + Blue = White LIght
>
> SUBTRACTIVE PRIMARIES: Cyan, Magenta, Yellow (CMY)
> White - Red = Cyan
> White - Green = Magenta
> White - Blue = Yellow
>
> (and it gets more complicated from there and there are some lovely
> diagrams and colour wheels showing how you can add and subtract them
> from each other... but those are the basics... think additive, because
> RGB added together = white... and the subtractive ones are what you
> get when you subtract either RG or B from white.
>
> WAVELENGTHS AND FILTERS
> Light is made up of various wavelengths. Each different wavelength is
> a different colour.
> If you want to use true RGB filters to do colour separation, you want
> to choose 3 filters, that will INCLUDE all of the wavelengths but that
> will not have too too much overlap with each other... you want them to
> be discrete... the tricky part comes in the borders between the
> colours... you either wind up with a gap or with overlap.
>
> MAKING THE RECORD (WAS REFERRED TO A MATRIX IN THE DYE TRANSFER ERA OF
> TECHNICOLOUR)
> if you film onto black and white film, with no filter... you have a BW
> record of the light... that photographic image is a record of all of
> the wavelengths (depending on which wavenlengths the emulsion was
> sensitive to, of course... but that's another topic all together... so
> let's assume we have an emulsion that is equally sensitive to all
> wavelengths.. ha!)
>
> to see this illustrated clearly, imagine a woman's face with pale
> skin, freckles, green eyes, and bright red lips.
> now, if you take a photo on black and white film with a red filter on
> the lens, her freckles and lips will be very pale... it will be a
> black and white image but her skin tone and lips will be quite pale,
> and her eyes will be almost black... if you do this with a green
> filter, then the freckles and the lips will pop like crazy and you
> will see lots of texture on her face, but her eyes will be very pale.
> you can try this out really easily in photoshop if you take a colour
> image, and then go into your channels panel, and just look at the red,
> green, or blue channel alone... you will see a black and white
> image... but each of the three black and white images will be very
> different. each black and white image is a record of something
> totally different... one is just the red light, one is just the green
> light, and one is just the blue light.
>
> okay... so colour theory aside... here's some practical easy stuff you
> can do.
>
> DOING IT IN CAMERA (NO OPTICAL PRINTER NECESSARY)
> load your camera with colour film.
> slap on a red filter
> film
> rewind the camera
> slap on a green filter
> film
> rewind the camera
> slap on a blue filter
> film.
> process it
> ta-da!
>
> DOING IT IN THE OPTICAL PRINTER FROM COLOUR SOURCE FOOTAGE
> same as above
>
> DOING IT IN THE OPTICAL PRINTER FROM BW SOURCE FOOTAGE
> you can take a single piece of BW source footage and print 3 times
> onto colour film, through RGB filters, and if you throw each layer out
> of sync by just a few frames in each pass, you get a black and white
> image with gentle trails of RGB and CMY at the edges where there is
> movement.
>
> phew... again... lots of info.
> it's hard to describe this stuff without visuals.
>
> hope that was somewhat clear and useful.
>
> amanda
>
>
>
>
>
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Received on Mon Apr 04 2011 - 05:04:05 CDT
