I didn't reply earlier because I have no actual information, but why
should we doubt the 24fps on the Coop can? My instinct from having seen
this film and related ones a few times is that Frampton would not have
planned any part of /Magellan/ for anything other than 24 fps.
If someone comes up with actual evidence, please post.
Fred Camper
Chicago
On 9/4/2026 1:10 PM, m b wrote:
Maybe bill brand would know?
www.mbillyou.com <http://www.mbillyou.com>
@mbillyou_film <https://www.instagram.com/mbillyou_film/>
On Fri, Sep 4, 2026 at 12:47 PM Scott Stark <[email protected]> wrote:
Thanks for the suggestion Dave. After catching a recent wonderful
show of films by Nathaniel Dorsky at ‘sacred’ speed I’m inclined
to show it at 18fps.
Best,
Scott
Sent from my iPad
> On Sep 2, 2026, at 9:11 PM, Dave Tetzlaff <[email protected]> wrote:
>
>
> I have no knowledge re: that particular film, but IIRC Frampton
made at least one orher silent film I've seen shot at 'silent
speed', and apparently intended to be projected at that speed, but
it might have been 16fps. I don't remember what film though, and
it might not even have been Frampton... My (limited, in truth)
experience with work from that era is that you can only guarantee
24fps is the intended speed if It has an optical track, or the
maker left explicit instructions.
>
> However, one thing that characterizes the exhibition of 16mm
prints is a high degree of variability and even randomness. The
environments of screening spaces vary dramatically, as do the
conditions of prints, and, honestly the conditions of projectors.
Each projection is a unique specific 'text', involving choices by
the projectionist. My suggestion: embrace that. If you have a two
speed projector - like an old Pageant maybe - preview it at both
speeds and choose whichever you think makes the piece more
interesting. Which might depend on those other variables...
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