Re: [Frameworks] 16 mm eiki hacked

[Ryder White]

Absolutely, I'd second this...I'd love to see more info on the LED and any
power supply mods you had to make to get it working. We've been talking
recently about getting a Super 8 projector modified with a light source
like this.

Thanks for sharing!

Ryder

On Thu, May 19, 2016 at 4:18 PM, Chris G  wrote:

> Hi Xavi,
>
> Looks like quite a project! Can you share any details on the LED and lens
> you're using in the projector? Are you using it as a replacement for the
> bulb or as an alternative solution for a transfer machine? I'm working on
> something similar at the moment and would be interested in knowing more.
> Please keep sharing here, I think that there's enough of an audience for
> these types of efforts.
>
> Best,
> Chris
>
> On May 18, 2016, at 20:52, FCO. JAVIER HURTADO MOMPEO 
> wrote:
>
> hello everybody
> here some pictures
> one power led instead of the halogen EIKI lamp (same power and one can
> turn it on and off fast)
> and I think that there can be seen the two shutters in the background
> (motor controlled)
> its a hacked eiki slim line proyector
> will upload a video when finish the prototype
>
> (I would not want to bother anybody, I´m not a filmmaker my field is video
> and new technologies but I find these research I´m doing call "Machines of
> the visible" closed of some of your research works.. so I will keep on
> uploading information for if somebody is interested... thanks for your time)
>
> best
> xavi
>
>
>
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>
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Re: [Frameworks] 16 mm eiki hacked

[Chris G]

Hi Xavi,

Looks like quite a project! Can you share any details on the LED and lens 
you're using in the projector? Are you using it as a replacement for the bulb 
or as an alternative solution for a transfer machine? I'm working on something 
similar at the moment and would be interested in knowing more. Please keep 
sharing here, I think that there's enough of an audience for these types of 
efforts. 

Best,
Chris 

> On May 18, 2016, at 20:52, FCO. JAVIER HURTADO MOMPEO  wrote:
> 
> hello everybody 
> here some pictures
> one power led instead of the halogen EIKI lamp (same power and one can turn 
> it on and off fast)
> and I think that there can be seen the two shutters in the background (motor 
> controlled)
> its a hacked eiki slim line proyector
> will upload a video when finish the prototype
> 
> (I would not want to bother anybody, I´m not a filmmaker my field is video 
> and new technologies but I find these research I´m doing call "Machines of 
> the visible" closed of some of your research works.. so I will keep on 
> uploading information for if somebody is interested... thanks for your time)
> 
> best 
> xavi
> 
> 
> 
> Aquest correu electrònic i els annexos poden contenir informació confidencial 
> o protegida legalment i està adreçat exclusivament a la persona o entitat 
> destinatària. Si no sou el destinatari final o la persona encarregada de 
> rebre’l, no esteu autoritzat a llegir-lo, retenir-lo, modificar-lo, 
> distribuir-lo, copiar-lo ni a revelar-ne el contingut. Si heu rebut aquest 
> correu electrònic per error, us preguem que n’informeu al remitent i que 
> elimineu del sistema el missatge i el material annex que pugui contenir. 
> Gràcies per la vostra col·laboració. 
> 
> Este correo electrónico y sus anexos pueden contener información confidencial 
> o legalmente protegida y está exclusivamente dirigido a la persona o entidad 
> destinataria. Si usted no es el destinatario final o la persona encargada de 
> recibirlo, no está autorizado a leerlo, retenerlo, modificarlo, distribuirlo, 
> copiarlo ni a revelar su contenido. Si ha recibido este mensaje electrónico 
> por error, le rogamos que informe al remitente y elimine del sistema el 
> mensaje y el material anexo que pueda contener. Gracias por su colaboración. 
> 
> This email message and any documents attached to it may contain confidential 
> or legally protected material and are intended solely for the use of the 
> individual or organization to whom they are addressed. We remind you that if 
> you are not the intended recipient of this email message or the person 
> responsible for processing it, then you are not authorized to read, save, 
> modify, send, copy or disclose any of its contents. If you have received this 
> email message by mistake, we kindly ask you to inform the sender of this and 
> to eliminate both the message and any attachments it carries from your 
> account. Thank you for your collaboration.
> 
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[Frameworks] Fwd: Stephen Partridge contact info: and/or a question about Monitor

[John Muse]

Stephen Partridge answers!  See below: 

Begin forwarded message:

> From: "Stephen Partridge (Staff)"
> Subject: Fwd: [Frameworks] Stephen Partridge contact info: and/or a question 
> about Monitor
> Date: May 18, 2016 6:09:46 PM EDT
> To: "jm...@sonic.net" 
> 
> 
> 
>> Begin forwarded message:
>> 
>> From: Stephen Partridge
>> Subject: Fwd: [Frameworks] Stephen Partridge contact info: and/or a question 
>> about Monitor
>> Date: 18 May 2016 23:06:16 BST
>> To: frameworks-boun...@jonasmekasfilms.com
>> 
>> Yes I saw a comment from John Muse on Vimeo. I tried to reply to him via 
>> that platform but it didn’t work- I’ll try again
>> 
>> so maybe he gets it this way?
>> 
>> Monitor was made in 1974 when the vidicon cameras were not capable of much 
>> of a contrast ratio - 
>> theoretically about 8:1. People at the time referred to the image as 'grey 
>> on grey’. 
>> 
>> However i noticed that a black & white signal generator could produce a 
>> discernible range of greys as a Grey Scale with distinct shades of grey from 
>> almost black to peak white (1volt peak to peak). I wondered if this could be 
>> achieved in the studio with a video camera and experimented with the 
>> Mise-en-scène, table, wall and the monitor itself. 
>> I realised after a while that the scene was missing a mid grey or more 
>> correctly, not enough grey area from the table top, and therefore the 
>> camera’s AGC was not able to produce a deep enough black or a white enough 
>> white. I therefore put a piece of card on the wall behind the table, maybe 
>> about 3 metres behind, which produced a soft grey not too dissimilar in tone 
>> to the tabletop - but also rather ambiguous due to the focal length.
>> 
>> After a bit of further shooting, serendipity happened!…. The sticky tape 
>> that held the card to the wall came unstuck at one corner and created the 
>> diagonal, which I immediately recognised as a more dynamic composition - 
>> offering the diagonal which was much more interesting, especially as I began 
>> to manipulated the Monitor through it’s choreographed sequences.
>> 
>> 
>> regards to all interested
>> Steve Partridge
>> 
>> 
>> 
>> 
> 
> The University of Dundee is a registered Scottish Charity, No: SC015096
> 
>> 
>>> 
>>> 
>>> From: FrameWorks  on behalf of John 
>>> Muse 
>>> Sent: 18 May 2016 19:50
>>> To: Experimental Film Discussion List
>>> Subject: Re: [Frameworks] Stephen Partridge contact info: and/or a question 
>>> about Monitor
>>> 
>>> Hi, Simon.  I have his email and will write him asap.  Report to follow if 
>>> he replies.
>>> 
>>> That line is definitely not the edge of the table; I thought so too, but 
>>> then students who were busily reenacting the piece (which required 
>>> un-mothballing a small monitor and an SD camera) discovered that they just 
>>> couldn't get the geometry right.  Either a wall painted for the purpose or 
>>> wainscoting.  Either way, that line folds the background into work in novel 
>>> way, particularly as it spins.  Good compositional torque that.
>>> 
>>> j
>>> 
>>> On May 18, 2016, at 3:38 PM, Simon Payne  wrote:
>>> 
 Dear John,
 You can probably reach Stephen Partridge via his email address at the 
 University of Dundee. I have always seen the diagonal line as the far edge 
 of the table that the monitor is sitting on, so I'm intrigued by your 
 suggestion that it's something more complicated.
 Best wishes,
 Simon Payne
 
 On 17 May 2016, at 22:07, John Muse  wrote:
 
> Anyone want to share contact info for Stephen Partridge.  I have a 
> question about his work Monitor https://vimeo.com/19121750  It's simple 
> really, and I posted it to "Steve Partridge" via the vimeo account.  The 
> monitor sits on a table and behind it is a sharp diagonal line which cuts 
> through the feedback loop.  The line appears to be on a wall: it might be 
> the edge formed between a light colored paint above and darker 
> wainscoting below--I can just make out some vertical lines in the darker 
> surface which may be a sign of wainscoting.  The line would then be 
> diagonal because the table on which the monitor sits is at an angle to 
> the wall, the right corner of the table closer to the wall and the left 
> side of the table, which extends beyond the edge of the frame, farther.  
> Anyone have a better guess or definitive information?
> 
> Thanks!
> 
> j/PrM
> 
> *
> 
> john muse
> visiting assistant professor of independent college programs
> haverford college
> http://www.finleymuse.com
> http://www.haverford.edu/faculty/jmuse
> http://haverford.academia.edu/JohnMuse
> 
> *

[Frameworks] Sheffield Fringe 2016 programme announcement

[minou norouzi]

*Appologies for cross-posting*







*Sheffield Fringe 2016: OBJECT DOCUMENTARYJUNE 10-18 2016 BLOC PROJECTS 71
Eyre Lane Sheffield S1 4RB*

Now in its fifth edition, the third to take place at Bloc Projects,
Sheffield Fringe includes both emerging and established artists working
with the moving image in diverse ways. Formerly an annual event, Sheffield
Fringe is now held in Sheffield biennially, outside of which it operates
nomadically through international exhibitions, events and research
projects. Its Sheffield-based manifestation coincides with Sheffield
International Documentary Film Festival (Doc/Fest), with the intention of
creating a complimentary platform for artists’ moving image work, and a
context in which to encourage creative collaboration between the
communities surrounding contemporary art and documentary film.

This year’s programme *Object Documentary* investigates the ethical
challenges of regarding documentary film as an object, and documentary
material as a resource, through a diverse series of screenings exploring
themes ranging from international conflict resolution, the nature and
creation of stories, the political use-value in filmmaking, colonial
histories, and reflections on memory and nostalgia.

Participating artists are: *Mox Mäkelä, Timo Menke & Nils Agdler, Patricia
Bandeira, Ted Kennedy, Peter Martin, Francesco Pedraglio, Leafcutter John,
Emma Leach, Alison J Carr, Jumana Manna & Sille Storihle, Rosalind
Nashashibi, Richard Wiebe, Pat Law, Sasha Litvintseva, Sarah Beddington,
Mairéad McClean, Xiaowen Zhu, Tinne Zenner, Daniel Jacoby, Ben Balcom, Sky
Hopinka, Andrée-Anne Roussel, Zachary Epcar, Patricia Azevedo & Clare
Charnley, Scott Willis, Ian Nesbitt, Liz von Graevenitz, Alistair
Macdonald, Michael Day, Richard Bartle, Maud Haya-Baviera, Lesley Guy & Lea
Torp Nielsen & Dale Holmes, Jenni Olson**, Bloc Studio Artists.*
For full programme listings and information, please visit the Sheffield
Fringe website
or view the 2016 catalogue at: http://www.sheffieldfringe.com/flipbook/

Admission to all screenings and events are free.

Best wishes,
Minou

minounorouzi.com
sheffieldfringe.com



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