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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