Re: [Frameworks] Pushing Eastman EXR 3378E Hi-con film

[Jeff Kreines]

Do a tail test — process 5 feet pushed and go from the results. Jeff KreinesKinettaj...@kinetta.comkinetta.comSent from iPhone. On Jul 4, 2024, at 4:46 PM, Justin Rhody  wrote:I recently asked Steve at Mono & he said 12iso if developed reversal but 20iso if dev as neg. You may want to write him. Hes always been really helpful.
On Thu, Jul 4, 2024, 1:18 PM Dominic Angerame  wrote:I shoot the same stock in 16mm….u may lose much of the high contrast, honestly its a gamble since the stock is unique.DOn Jul 4, 2024, at 12:03 PM, jjmartinod  wrote: Hey hey frsmeworkers,Hope all is well. I was wondering if anyone had any experience pushing Eastman EXR 3378E Hi-con film.I recently purchased some from Mono No Aware and accidentally shot it at 25 ISO instead of 12 ISO. I know it's an unforgiving stock. Would pushing it +1 be a partial remedy? It's extremely important footage I absolutely cannot shoot again. Any advice would be deeply appreciated. thanks & all my best,jean-jacques martinod -- Frameworks mailing listFrameworks@film-gallery.orghttps://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org-- 
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Re: [Frameworks] Steenbeck in Portland, Oregon

[Jeff Kreines]

The ST-1901 is a great machine. Flickerless and variable speed. Sorry you are letting it go!Best,Jeff KreinesKinettaj...@kinetta.comkinetta.comSent from iPhone. On Jun 21, 2024, at 11:19 AM, 16mm Directory  wrote:Hello, I have a skirt leg Steenbeck 1901 from the early 1990s available for donation. Sorry for the short notice, but this will needto be moved in the next two weeks. Includes a bin of spare parts and a full set of printed manuals.  This is for local pickup only, however, I will consider freight if you arrange for a pick-up within this window of time. I cannot offer any kind of delivery of this item, all moving expenses are to be covered by the recipient. Contact me with any questions. ThanksAlain -- 16mm Directory / 40 FramesPortland, Oregon USAwww.16mmdirectory.orgwww.40frames.org
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Re: [Frameworks] 35mm film with half-frame camera

[Jeff Kreines]

If you get a good scan (overscanned, outside the frame) of your film, you 
probably can stabilize it reasonably well in Resolve if there are items in the 
frame that are reasonably steady. Obviously ignore the perfs as a reference. 

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Jun 17, 2024, at 3:29 PM, Simon Dorfman  wrote:
> 
> 
> Hi all,
> 
> I made some experimental 35mm films using a half-frame camera a few decades 
> ago. The registration was not very good, which isn't surprising, considering 
> the cameras are not designed for making motion picture films. Still, they 
> were fun.
> 
> I heard about a new half-frame film camera today. And it made me want to try 
> it again. Maybe this post will make you want to try it too?
> 
> Here's the camera:
> https://www.bhphotovideo.com/explora/videos/photography/finally-a-new-film-camera-announcing-the-pentax-17
> 
> Cheers,
> Simon
> --
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Re: [Frameworks] stabilizing a scan using the sprocket holes? (Davinci Resolve or Avid?)

[Jeff Kreines]

Re-splice with double-sided tape splices. You won’t lose frames. Consider a different scanner. Jeff KreinesKinettaj...@kinetta.comkinetta.comSent from iPhone. On Jun 7, 2024, at 12:47 PM, ev petrol  wrote:Thanks Jeff!I think in this case it's really my splices are the problem.But if I did want to try again with this footage (I'm reluctant to re-splice and lose frames), is there another option?thanks! Moiramoiratierney.net vimeo.com/moiratierney






On Friday, June 7, 2024 at 12:58:33 AM EDT, Jeff Kreines  wrote:





The Xena is based on optical printer shuttles, so it’s not really great with tape splices. However, it’s an area scan device so the entire frame will jump around, better than a line scan machine, but not ideal. Jeff (yeah I’m biased) KreinesKinettaj...@kinetta.comkinetta.comSent from iPhone. On Jun 6, 2024, at 7:25 PM, ev petrol  wrote:It was a Xena scanner (from Cinelab in Boston)moiratierney.net vimeo.com/moiratierney






On Wednesday, May 29, 2024 at 07:44:20 AM EDT, Scott Dorsey  wrote:





What WERE they scanning them on?  A line scanner should be able to takesome pretty awful splices.--scott-- Frameworks mailing listFrameworks@film-gallery.orghttps://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org

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Re: [Frameworks] stabilizing a scan using the sprocket holes? (Davinci Resolve or Avid?)

[Jeff Kreines]

The Xena is based on optical printer shuttles, so it’s not really great with tape splices. However, it’s an area scan device so the entire frame will jump around, better than a line scan machine, but not ideal. Jeff (yeah I’m biased) KreinesKinettaj...@kinetta.comkinetta.comSent from iPhone. On Jun 6, 2024, at 7:25 PM, ev petrol  wrote:It was a Xena scanner (from Cinelab in Boston)moiratierney.net vimeo.com/moiratierney






On Wednesday, May 29, 2024 at 07:44:20 AM EDT, Scott Dorsey  wrote:





What WERE they scanning them on?  A line scanner should be able to takesome pretty awful splices.--scott-- Frameworks mailing listFrameworks@film-gallery.orghttps://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org

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Re: [Frameworks] 360 arc shot

[Jeff Kreines]

A much cheaper and smoother (if you want smooth) solution would be to use a 
“Lazy Susan Bearing between two pieces of wood. They only cost a few dollars 
($8 for $15 at Amazon). So many ways to do this. Personally I’d just shoot 
handheld and move…

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On May 30, 2024, at 6:52 AM, Jeff Kreines  wrote:
> 
> A much cheaper and smoother (if you want smooth) solution would be to use a 
> “Lazy Susan Bearing between two pieces of wood. They only cost a few dollars 
> ($8 for $15 at Amazon). So many ways to do this. Personally I’d just shoot 
> handheld and move…

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Re: [Frameworks] 360 arc shot

[Jeff Kreines]

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On May 30, 2024, at 4:18 AM, graeme hogg  wrote:
> 
> I would try something like 2 pieces of ply wood bolted together in the centre 
> with counter sunk bolt head. USe big bolt like M12. Fix camera to the top 
> piece. Fix bottom piece to a tripod somehow. Maybe silicon grease between the 
> sheets. Move by hand

A much cheaper and smoother (if you want smooth) solution would be to use a 
“Lazy Susan Bearing between two pieces of wood. They only cost a few dollars 
($8 for $15 at Amazon). So many ways to do this. Personally I’d just shoot 
handheld and move… 
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Re: [Frameworks] stabilizing a scan using the sprocket holes? (Davinci Resolve or Avid?)

[Jeff Kreines]

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On May 29, 2024, at 6:46 AM, Scott Dorsey  wrote:
> 
> What WERE they scanning them on?  A line scanner should be able to take
> some pretty awful splices.
> --scott

And it will typically distort the geometry of the frame several frames away 
from the bad splice because the encoder sprocket reading out the scan lines is 
typically offset from the aperture by up to a foot.  Frame height will vary.  
Called the “waterfall effect.”

That’s why line scan scanners like the Spirit or Rank or Scanity have big 
problems with any splices and with shrunken film. 

An area scan scanner may jump at a bad splice but if overscanned that’s easily 
fixed in Resolve. 
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Re: [Frameworks] Eiki projector problems

[Jeff Kreines]

What kind of light source is in the room you’re screening in?  It may be that 
the light is fluorescent or “white” LED and condition your eyes so that 3200k 
seems unnaturally warm to your eyes. 

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Dec 13, 2023, at 8:25 PM, Julian Antos  
> wrote:
> 
> 
> The color temp of the ELC bulbs used in portable 16mm projectors can vary 
> quite a bit. I've found Ushio and Osram to be most consistent and these are 
> what I use for gallery installations. Cheaper bulbs may be more yellow or 
> otherwise "off".
> 
> Older lenses can also have discoloration over time, though Eiki's stock 
> lenses are quite good and I've yet to have an issue with them.
> 
> But either way the color temp of halogen bulbs is not that of xenon, so 
> prints will always look warmer.
> --
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Re: [Frameworks] Eiki projector problems

[Jeff Kreines]

Labs used to make color prints timed for either 3200K incandescent lamps or 
5600-6000K xenon lamps.  If you project a xenon print with an incandescent 
lamp, it will appear pink — and vice versa with a 3200K print on a xenon 
projector.

You could use a filter over the lens but you’d lose a good deal of light.  But 
this may be the cause of your problem.


Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

> On Dec 13, 2023, at 1:17 PM, Fred Camper  wrote:
> 
> Wanting to be sure I had a good 16mm film projector, eight or nine years ago 
> I purchased a new Eiki from Dwight Cody, who has a good rep. It worked fine, 
> except that the image was too warm, orange-pink. His advice was to try a new 
> bulb. That did not help. In some despair over what to do, I just stopped 
> using it.
> 
> Then, last night, at one of the schools I teach at, a projectionist/archivist 
> brought a school Eiki to show some films to my class. The light was pink. 
> Actually, it had been pink for a screening in an earlier semester, and I had 
> tried to ignoreit, happy to have the services of a good projectionist. 
> Yesterday during class, the bulb blew. She changed it. Still pink, Perhaps a 
> little pinker.
> 
> I favor film, but compared to this light in some ways digital would be 
> better, especially for certain kinds of black and white films.
> 
> Has anyone had this experience before? Any ideas for a fix? This little 
> problem, combined with some massive ones in the world today 
> (https://www.fredcamper.com/Rants/231210World.html), suggests a long walk off 
> a short pier, but I am not yet ready for that…
> 
> Fred Camper
> Chicago
> 
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Re: [Frameworks] "140 different wipes that are available"

[Jeff Kreines]

That’s a great book for old-school (for me current) film techniques.  I love 
wipe charts.  You could get custom wipe mattes made.  The filmmaker Andrew Lugg 
had a 5 minute left—to-right wipe matte made for his film Gemini Fire Extension.

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com


> On Dec 6, 2023, at 2:20 PM, Eric Theise  wrote:
> 
> This figure appears in my copy of Roberts and Sharples' A Primer for 
> Film-Making (1971)–
> 
> 
> 
> –and I have questions.
> 
> Was there a company in the business of selling matte kits to labs? "140" 
> seems so specific and yet so arbitrary.
> 
> Has anyone ever come across a reel demonstrating all or most of these wipes? 
> A few I find perplexing, many I recognize or can imagine, but seeing them in 
> action would be instructive.
> 
> Happy to read any discussion this provokes, thanks.
> 
> Eric
> 
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Re: [Frameworks] Seeking Info - Portable Magnasync 16mm magstock dubber

[Jeff Kreines]

Tube. It was the 2000 and 3000 series that were solid state. 

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Dec 4, 2023, at 3:51 PM, Scott Dorsey  wrote:
> 
> Wait, I thought this was one of the solid state ones, not one of the tube
> ones like the X-400?
> 
> The tube ones use high impedance heads with a lot more turns on them and
> you can use a step-down transformer for playback but I don't think it would
> be easy to use solid state electronics for record.
> --scott
> 
> --
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Re: [Frameworks] Seeking Info - Portable Magnasync 16mm magstock dubber

[Jeff Kreines]

Ryder,

Yes, that’s the amp.  I assume you want to record, not just play back?  The 
Magnasync electronics are not easy to find, because the tube electronic 
enthusiasts hoard them.’

One option would be to find alternatives like the Inovonics record-play amps 
(there are some on eBay, about $200) or to find Magnatech record and play amps 
— which require a clean 28v DC linear power supply.  The Inovonics also require 
a power supply, but I don’t know the specs.

You’d need some electronic skills to make any of these work — different 
connectors, etc.  Also, the heads on your machine may not be a good match for 
third party electronics.  Not sure which 1/4’ electronics might work.  Also 
note that this machine has no erase head so your mag stock has to be 
bulk-erased or new, you can’t record over used stock.  Another expense.

The question is how deeply do you desire a 16mm mag recorder?  If you just want 
to use it to playback mag, that’s a lot simpler — there are even old hifi amps 
that have an input for a magnetic head.  

Best of luck!

Jeff Kreines


> On Dec 4, 2023, at 2:47 PM, Ryder White  wrote:
> 
> Awesome, thanks Jeff. That model number made the research a lot easier. I’m 
> guessing by electronics you mean the companion amplifier unit like this:
> 
> 
> 
> 
> I’m wondering if I can figure out how to send it amplified signal from other 
> equipment in order to still be able to use the transport. Any thoughts on 
> what it might be expecting to see as far as recording levels go? Any chance 
> it’s similar to its 1/4” tape contemporaries? I have some open reel decks I 
> might be able to cannibalize. 
> 
> Thanks again -
> 
> R
> 
> 
> 
> Ryder Thomas White
> (he/him)
> SENT FROM MOBILE
> 
> 
> On Sat, Dec 2, 2023 at 17:17 Jeff Kreines  <mailto:j...@kinetta.com>> wrote:
>> It’s a Magnasync 602E or a variant of that. But your photos are missing the 
>> electronics, so all you have is a transport. 
>> 
>> Jeff Kreines
>> Kinetta
>> j...@kinetta.com <mailto:j...@kinetta.com>
>> kinetta.com <http://kinetta.com/>
>> 
>> Sent from iPhone. 
>> 
>> > On Dec 2, 2023, at 6:49 PM, Ryder White > > <mailto:ryder.wh...@gmail.com>> wrote:
>> > 
>> > 
>> > hi Frameworks-land,
>> > 
>> > I recently acquired a cool portable Magnasync magstock dubber (thanks 
>> > Todd!) and now I’m trying to learn a little more about it. It doesn’t have 
>> > a model name or number, and in my cursory googling I couldn’t find any 
>> > reference to this unit or anything similar. If anyone has any good info to 
>> > pass along about this unit, I’d be very grateful to have it. In 
>> > particular, I’m wondering how the input/output are configured…the only 
>> > connections I see are a type I don’t recognize. 
>> > 
>> > 
>> > 
>> > 
>> > 
>> > 
>> > Many thanks all!
>> > 
>> > Ryder
>> > 
>> > 
>> > 
>> > Ryder Thomas White
>> > (he/him)
>> > SENT FROM MOBILE
>> > -- 
>> > Frameworks mailing list
>> > Frameworks@film-gallery.org <mailto:Frameworks@film-gallery.org>
>> > https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org
>> 
>> -- 
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Re: [Frameworks] Seeking Info - Portable Magnasync 16mm magstock dubber

[Jeff Kreines]

It’s a Magnasync 602E or a variant of that. But your photos are missing the 
electronics, so all you have is a transport. 

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Dec 2, 2023, at 6:49 PM, Ryder White  wrote:
> 
> 
> hi Frameworks-land,
> 
> I recently acquired a cool portable Magnasync magstock dubber (thanks Todd!) 
> and now I’m trying to learn a little more about it. It doesn’t have a model 
> name or number, and in my cursory googling I couldn’t find any reference to 
> this unit or anything similar. If anyone has any good info to pass along 
> about this unit, I’d be very grateful to have it. In particular, I’m 
> wondering how the input/output are configured…the only connections I see are 
> a type I don’t recognize. 
> 
> 
> 
> 
> 
> 
> Many thanks all!
> 
> Ryder
> 
> 
> 
> Ryder Thomas White
> (he/him)
> SENT FROM MOBILE
> -- 
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Re: [Frameworks] New Kodak super-8 camera

[Jeff Kreines]

Overpriced, dumb design, no optical viewfinder. Too noisy for sync sound despite the audio capabilities (which any smartphone could equal).Designed by non-filmmakers.  I think some rental houses might buy a couple, but I doubt it will succeed.  Jeff KreinesKinettaj...@kinetta.comkinetta.comSent from iPhone. On Nov 22, 2023, at 12:43 PM, Rick Prelinger  wrote:MSRP $5495.00!RickRick PrelingerPrelinger Library & Archives, San Franciscofoot...@panix.comwww.prelinger.comEmerit Professor, Film & Digital MediaUC Santa Cruzr...@ucsc.eduOn Wed, Nov 22, 2023, 10:30 Scott Stark  wrote:Hi, I was wondering if anyone has checked out Kodak’s new S8 camera? It seems to have some interesting features such as sound recording to WAV files, C mount for lenses, a possible 14:9 aspect ratio and a flip out viewing screen (I actually prefer through the lens focusing, but whatevs).Kodak finally releases its new Super 8 film cameraredsharknews.comScott Sent from my iPad-- 
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Re: [Frameworks] 35mm Steenbeck for free (self pick-up)

[Jeff Kreines]

That looks like a very old 16/35 Steenbeck, if it has all the parts for both formats. It’s pre-1980 or so. Jeff KreinesKinettaj...@kinetta.comkinetta.comSent from iPhone. On Oct 4, 2023, at 5:59 PM, Bernd Lützeler  wrote:Dear Filmmakers,sorry, forgot to include the photos:there is a 35mm Steenbeck for free.It’s already disassembled for pickup.I dunno the location, it’s somewhere in Germany.Seems to need some maintenance work...Please write directly to Lutz Garmsen l...@garmsen.decheersBernd<378370948_3031283233672546_3431242328245217276_n.jpeg>
***Bernd Lützeleremail • web • vimeolight cone • arsenal

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Re: [Frameworks] Owen Land's Papers.

[Jeff Kreines]

Also search for George Landow. Jeff KreinesKinettaj...@kinetta.comkinetta.comSent from iPhone. On Oct 1, 2023, at 2:31 PM, Eric Theise  wrote:Hi Josh,I'd be interested in the answer to this, too. I'd suggest you contact Mark Webber, who brought out the book Two Films by Owen Land a few years back and organized a screening series that toured. Will send you his email address off list (although he was once active here).EricOn Sun, Oct 1, 2023 at 2:46 PM Josh B Mabe  wrote:Where are Owen Land's papers? Are they at Anthology? I see the NYPL library has an artist file on him, but that's all I can find on WorldCat. I'm specifically interested in his time in Chicago, and the theater/performance art side of his career. 
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Re: [Frameworks] CPC London?

[Jeff Kreines]

Are you doing one-off color positive prints from a digital file, or are you 
making a negative and prints?  

Colorlab in the US makes 35mm Cinevator prints from files for, I believe, US 
$.50/foot — or $45/minute (90 feet) with a minimum of a few minutes.  Pretty 
sure they use Kodak print stock.  They also do 4K direct 16mm prints, though I 
don’t know the price. They do good work.

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

> On Sep 30, 2023, at 10:23 PM, Justin Rhody  
> wrote:
> 
> Does anyone here have experience with getting 35mm prints made through CPC 
> London?
> 
> I've had 4 prints made by them now and I'm happy with the quality. But I've 
> had a lot of difficulty getting a straight answer from them in regards to 
> pricing, which seems odd. I've received quotes that range from ~$55/min to 
> ~$400/min. They've basically said that they can't explain where price breaks 
> occur for quantity, etc.
> 
> There are other, less important, things that seem odd to me as well. On their 
> FAQ page there's a question asking "What film stock do you print on?" and 
> instead of listing Kodak 2383 color print stock, the answer they give is "We 
> print on standard positive colour film stock." Again, not a big deal but the 
> vague answer raises vague uhhh, feelings.
> 
> Are there any places in the United States that offer direct 
> digital-to-positive-film printing at comparable rates to the places I know of 
> in Europe (about $55-100/min for 35mm, $13-20/min for 16mm)?
>  
> Thanks,
> Justin
> 
> 
> -- 
> Photography & Film: justincliffordrhody.com <http://justincliffordrhody.com/> 
> No Name Cinema: www.nonamecinema.org <http://www.nonamecinema.org/>
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Re: [Frameworks] Ben Van Meter

[Jeff Kreines]

Humble Ben Van Meter. RIP. 

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Sep 18, 2023, at 10:47 PM, Dominic Angerame  
> wrote:
> 
> I do not remember reading anything on Frameworks about Ben Van Meter and 
> sorry if this info is a repeat of something that I missed.
> 
> It saddened me to have heard just today that  Ben Van Meter one of the 
> Founding Fathers of Canyon Cinema passed away in 2019. Perhaps this was 
> discussed earlier and I missed it.
> 
> Ben’s films have long been neglected. Alas there was no obituary, his website 
> is gone, and also sadly no one knows where his prints are or who to contact.
> 
> No one seems to know the cause of his death or if there is an estate, 
> relatives, etc. to whom we may be able to contact.
> 
> Dominic
> 
> PS I have a long story about Ben and his last relationship with Canyon Cinema 
> back in 1981. Soon to be published.
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Re: [Frameworks] Films with double perf

[Jeff Kreines]

Depends. I think some of the earlier ones line theb70A and 70DA require double perf, but it’s been a long time since I’ve used one. Like 50 years…Jeff KreinesKinettaj...@kinetta.comkinetta.comSent from iPhone. On May 25, 2023, at 6:00 AM, Christopher Ball  wrote:I have one and I just double checked...it is single perfOn Thu, May 25, 2023 at 7:38 AM Quentin Darcq  wrote:Hello Frameworkers,Do you know if the Bell & Howell Filmo 70 takes double perfored films or it is single-edge perfored ?As for films with double perforation, I only know so far the Fomapan black and  white reversal. As far as I know, there is no option of color with double perf ? Do you know if there are other options or not ?Thanks in advanceQuentin
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Re: [Frameworks] neg cutting

[Jeff Kreines]

Sheesh, Anna!

I put “real” in quotes to signify “commercial labs” — not to denigrate 
artist-run labs, which are an important thing.  

I have been making films for over 55 years, and that has given me the 
disadvantage of leaving my head clogged with a lot of useful and useless 
knowledge of how things were done back in the day.  Sometimes I offer advice 
when I’m not asked for it — and it’s fine with me when people tell me to shut 
up, grandpa. (Not an actual grandpa.)  I would have responded the same way back 
then to unwanted advice. But I do remember getting yelled at by some dolt at 
DuArt for having tape splices in rolls of reversal original sent in for 
workprinting, which despite the kvetching caused no problems.

I spend a lot of time answering questions from and helping out young filmmakers 
working with older technologies — or building scanners — so forgive me if I 
misunderstood your initial question and butted in with an unwelcome answer.  
There are people who want to talk about crossmod tests or sensitometers or 
latensification or strange old cameras or spring-wind tape recorders and they 
eventually stumble across me.  So I’m used to providing obscure technical 
information.  But this is the wrong list for that.

I’ll shut up now.

Jeff Kreines
Coosada, Alabama


PS: Sometime soon I probably will be letting go of a lot of lab equipment —  
optical printer parts (35 and 16 Oxberry and Acme/Producer’s Service), a couple 
of 16mm B printers, a couple of Jamieson B processing machines, and more.  
They probably will end up at an artist-run lab or with filmmakers who will use 
them.  Not happening yet.



> On Apr 23, 2023, at 8:16 PM, Tara Nelson  wrote:
> 
> Thanks for speaking up when you felt like you were being talked down to, 
> Anna. I had the same feeling about the responses to your initial message and 
> I am sorry I didn't speak up sooner.
> You clearly know what you are doing and don't deserve any form of 
> condescension. You can cut my negatives with tape splices any day.
> 
> Tara Merenda Nelson
> Rochester NY
> 
> On Sun, Apr 23, 2023 at 12:43 PM Anna Kipervaser  <mailto:anna.kiperva...@gmail.com>> wrote:
>> Els, I understand you're looking to own a s8 gate for the JK, but would it 
>> be helpful to borrow one for a while or is that not of interest? I ask 
>> because I might be able to help facilitate a lending (from the US). And I'm 
>> sorry I don't know what the lens extension situation is or what it's used 
>> for. Would love to learn! I've got a K103 and have bellows on the JK. I feel 
>> like I've seen JKs with both the extension in your pic and bellows, and have 
>> assumptions on why, but would love to learn specifics. Please tell.
>> 
>> Also, is Mariette Michaud cutting negatives for most folks in Belgium, or 
>> are most doing their own neg cutting? I'm so interested in this question 
>> especially when there's a magician like Mariette Michaud around. 
>> 
>> 
>> Jeff, I'm sorry but again, not asking for any advice or explanations re 
>> neg cutting, tape splicing vs cement, etc... Perhaps it's unintentional, but 
>> your messages read like you're talking down to people, to me and others 
>> [Scott's initial message read that way too]. Not cool. You already said you 
>> haven't done this in ages and that you've gone digital so maybe you don't 
>> know what's actually happening these days regarding this topic.
>> 
>> And I dunno why you're putting real in quotes. As if LABO BxL or Mono No 
>> Aware or nanolab aren't real [to name a few from diff continents]!? Are they 
>> figments of our imagination?! As a point of fact: both artist run and 
>> commercial labs are putting tape splices thru their ultrasonic cleaning 
>> machines and their contact printers - both wet and dry gate.
>> 
>> 
>> ***NOTICE: no one is asking if tape splicing is possible or ok to use for 
>> neg cutting. No one. Not a single person in the whole wide world***
>> 
>> 
>> Thank you for reading my PSA, now we return to our regularly scheduled 
>> programming. Peace and fucking love y'all, peace and love. 
>> 
>> Disclaimer: I am not pissed. I know where I posted my initial inquiry. I 
>> just insist on clarity of communication and on speaking up if something 
>> ain't feeling right.
>> 
>> 
>> 
>> 
>> 
>> 
>> On Sun, Apr 23, 2023 at 4:31 AM Els van Riel > <mailto:m...@elsvanriel.be>> wrote:
>>> Hi,
>>> 
>>> Here in Belgium we had Huguette Van Volsem who worked as a fulltime 
>>> neg-cutter for our Belgian film-en TV industry. A few years ago Mariette 
>>> Michaud bought part of her equipement and uses it from time to time. Her 
&g

Re: [Frameworks] Bolex Light Meter

[Jeff Kreines]

Julian:I always carried my meter on one of those janitor-style spring loaded key rings that attaches to one’s belt. I used first a Spectra that reads directly in f/stops using the slides that come with it, but it wasn’t sensitive enough for low light and the slides are for 1/48 second so you’d have to compensate with a reflex Bolex by using the “wrong” slide. I later switched to a Minolta Autometer II, which I modified by adding a bright green arrow on the dial at 1/50th of a second, so it was easy to instantly see the stop. (The meter had a motorized dial.) We we’re shooting color reversal so exposures had to be really accurate. However, that was state of the art in 1978. (Jo and I exchanged them as Xmas gifts.)Any incident meter that you can set up to read directly in f/stops is preferable. Incident is preferable, with a design that has the ping pong ball on the same side as the readout. Al Maysles had a Spectra mounted on his camera above the lens, which worked for him. I don’t like meters on the camera. But the spring loaded belt holder is great. Get rid of the key ring part and take some thick stranded wire and solder a loop to the doohickey at the end of the chain. You can hear me use one mid-shot in Rocky & Rocky, since the mic was also in my left hand. Bad form!Jeff KreinesKinettaj...@kinetta.comkinetta.comSent from iPhone. On Apr 23, 2023, at 12:53 PM, Julian Antos  wrote:Does anyone have any recommendations for a small, modern light meter that could be mounted to a Bolex (or any other 16mm camera, for that matter)?My current setup for my "home movies" is either a Sekonic Studio Deluxe II, which is wonderful and accurate but I still fumble around with if I need a reading in a hurry, or my iPhone with the Cine-Meter app, which is accurate enough for my purposes when calibrated to the Sekonic meter, but again is still a bit of a nuisance to use if I need a reading in a real hurry. The answer is probably just that I should get quicker at using these devices, but it also seems that the perfect solution must have been devised for this. Also curious to hear what other people may be using. -- Julian AntosChicago Film Societywww.chicagofilmsociety.org773 827 8991  
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Re: [Frameworks] neg cutting

[Jeff Kreines]

Tape splices are fine for a JK.  You can even cut the neg with handles and skip 
the splices when printing.

However, if you are going to a “real” lab, they won’t like tape splices because 
they can’t use an ultrasonic cleaner.  (They can, but the splices eventually 
come off.)

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

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Re: [Frameworks] neg cutting

[Jeff Kreines]

Anna:

You’re cutting negative with tape splices?  Single-strand (A-roll only)? 
Really??  Given the lower gamma of negative stocks a tape splice is more likely 
to show than on reversal stock.

I’ve always cut my own A rolls.  Always cement splices.  I learned from the 
great Tom Palazzolo that the trick was to tape (with paper tape or masking 
tape) everything together with an extra frame of overlap.  Then take each roll 
and crank through and splice only the cuts that don’t require looping the film 
around the splicer.  And of course NEVER scrape the black leader, only picture! 
 Then wind in the other direction and do the other half of the splices, again 
scraping only picture and keeping the film straight.  Then do the other rolls.

This keeps you from messing up in a lot of ways.

That said, these days I don’t cut A rolls any more because I work from scans. 
 One reason for this is that all of our films are color or B reversal and 
there are not print stocks for making prints directly from reversal stocks — 
thank you Kodak…

Jeff


Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com


> On Apr 22, 2023, at 3:48 PM, Anna Kipervaser  
> wrote:
> 
> So I'm cutting negs to conform to workprints right now, for a couple films 
> I'm working on and am being reminded, once again, how much I love it and how 
> good I am at making clean tape splices. So... I thought I'd write a note here 
> to say that I dunno who's doing their own neg cutting these days and loving 
> it, or where folks are sending negs to get cut if not loving it, but am 
> curious about it, and am also thinking about whether I would love doing it 
> full time. 
> 
> 
> ---
> anna kipervaser
> annakipervaser.com <http://annakipervaser.com/>-- 
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Re: [Frameworks] Color separation experiment

[Jeff Kreines]

If you’re shooting under artificial light consider using cycled R G B LED lights instead of filters. Less light loss and less heat to melt the ice. Jeff KreinesKinettaj...@kinetta.comkinetta.comSent from iPhone. On Mar 15, 2023, at 1:11 PM, Eric Theise  wrote:Hi John,Since Andre mentioned the Cantrills, I will say that their Waterfall is perhaps my favorite color separation film. But more recently, there was Ben River's sloth film, Now, At Last!, and I believe Tomonari Nishikawa has made more than one. I doubt he's on Frameworks but I've always found him to be a friendly problem solver so you might want to reach out to him:https://www.tomonarinishikawa.com/contact.htmlEricOn Wed, Mar 15, 2023 at 11:59 AM  wrote:The films of The Cantrills in a desert of Australia.Time,colour, separations.


- Mail d’origine -
De: John Davis <0johndav...@gmail.com>
À: Experimental Film Discussion List 
Cc: Renée Delores 
Envoyé: Wed, 15 Mar 2023 18:05:44 +0100 (CET)
Objet: [Frameworks] Color separation experiment

Hello Frameworkers,

I am collaborating with, and writing on behalf of a friend who wants to
make a film using Ektachrome that will attempt to create a motion/color
separation effect. Here are her words:

"I am seeking advice for shooting a three color separation in 16mm with
Ektachrome color reversal film.


The film will document three fixed-position nearly identical ice blocks
with embedded plant materials. I plan to shoot on the same film reels doing
three consecutive passes, each pass documenting the three ice blocks as
they disintegrate. Using an Intervalometer for time-lapse, I am thinking I
would need to use three different filters/gels to isolate the colors for
each pass as the ice melts and the trapped matter/water fall out of
alignment. Any advice/experience with a process like this would be much
appreciated.


Some questions are:


1. What RGB gels/filters would be recommended to filter out corresponding
colors and produce the positive RGB color separation effect?

2. As Ektachrome is a reversal film, would I use the complementary filters
for red (cyan), green (magenta) and blue (yellow)? Or should I be doing the
opposite?


With the understanding there will need to be light tests, etc, any
additional advice on aperture compensation relative to a triple exposure
(with gels) would be much appreciated."


Sincerely,


John Davis


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Re: [Frameworks] equipment for sale

[Jeff Kreines]

Those Hokushin projectors are great — at least they were when I last used them 
about 43 years ago.

But it might be good to list your location — no clue where you’re located.


Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com



> On Feb 11, 2023, at 8:26 PM, Justin Rhody  
> wrote:
> 
> We're cleaning out storage and need to make room at our microcinema. Before 
> listing these items on Ebay I'm offering them here in case anyone is 
> interested. Looking for fair/reasonable prices and can be flexible ~ all 
> funds go toward keeping our no-profit microcinema afloat. Respond off-list 
> and I can send condition details and photos. Serious inquiries only, please.
> 
> 
> Eiki Super Slot-Load II 16mm projector (works but could use slight repair, 
> distorted sound issue)
> 
> Bell & Howell Filmsound 307 16mm projector (near mint w/ padded zipper 
> closing cover)
> 
> (x2) Hokushin Xenon X-350 16mm projectors with Auto Changer PRC-200 unit 
> (with 2 extra exciter lamps + <> 3 extra fuses + 1 extra used but good 
> discharge lamp --- but no power cables, untested)
> 
> Neumade 16mm Film Measuring Machine (model HM5S)
> 
> Moviscope 16mm Zeiss Ikon (needs bulb, repair on focus knob)
> 
> Gemini 300 EZG high intensity arc projection lamp 300w 35v
> 
> Lumix Panasonic DMC-FZ1000 digital camera (with extra batteries, chargers & 
> bag/case)
> 
> Marantz AV Surround Reciever SR5007 (with remote and power cable)
> 
> Marantz AV Surround Reciever SR5010 (with remote, antenna and power cable)
> 
> Nady W-1KU HT 1000 Channel UHF Wireless System (with Carrying Case, power 
> cable & HT-1KU mic)
> 
> Williams Sound Personal PA Transmitter model T27 (with power cable, antenna, 
> manual, box) + 4 PPA R37 FM Select Receivers + 4 Neckloop Telecoil Couplers + 
> 3 pairs of cheap headphones
> 
> USB 3.0 External BD/DVD/CD Burner Drive (3D Blu-ray Disc Burner / Player)
> 
> We've also received a massive collection of vintage film magazines like Super 
> 8 Filmmaker, Take One, Jump Cut, a lot of Facets catalogs, Markee, The 
> Independent Film & Video Monthly, Filmmakers Newsletter, Film Quarterly, 
> Cinema Canada, Release Print, Moviemaker, Film Threat, 8mm Movie Maker, a 
> couple Anthology Film Archives programs (circa 2010), some Aperture magazines 
> (circa 2003-2022) and recent issues of Cinema Scope & Millenium Film Journal.
> 
> 
> 
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Re: [Frameworks] Digital Master to 16mm/35mm --› Scan back to Digital

[Jeff Kreines]

Colorlab in Rockville Md, an excellent small lab that understands experimental film, and does very affordable film outs. They can go directly to print stock for one-off prints, or to color or B negative. They do 16 and 35mm. Last time I checked 35mm prints from digital files were about $.50 a foot with sound. That’s really cheap — 35mm runs at 90 feet per minute. (There may be a minimum charge.) Note that going directly to print stock won’t add any film grain to the image, which you may or may not want. They do scans, too, and have all sorts of high end scanners including a 6.5K Kinetta Archival Scanner. They specialize in film restoration work, so they know film well.   Highly recommended. Jeff KreinesKinettaj...@kinetta.comkinetta.comSent from iPhone. On Feb 4, 2023, at 10:44 AM, Rob Gawthrop  wrote:Hi JanisMy experience is of film to film-camera and film to digital-video-camera though I’d expect video to film would have similar requirements. For both, front projection works best. Projector and camera as far from screen as possible to produce a projected image of between 12 and 15 inches wide. The camera behind projector as far as possible with lens as appropriate.  This reduces parallax and hardly any ‘hot-spot’/.  Best to use a paper screen with no texture. With a film camera and using tungsten balanced film use an 81A filter (otherwise the colour will tend towards cyan), best use a camera with a mirrored shutter and variable speed. This is so you can adjust the flicker rate by eye otherwise film slightly slower than projection if possible. With a video camera set white balance manually and by eye. Adjust shutter speed until flicker is acceptable.I hope that’s helpfulBest WishesRobOn 4 Feb 2023, at 15:55, ja...@janislionel.com wrote:Hello I have an experimental music video project which only operates with analogue/optical effects. It was all filmed with digital cameras high iso - so its very grainy (purposely so, see sample still). Now I would like to perform a final step over: Print it on 16mm (or 35mm film) and then scan it back in 2k or 4kThere are three ways I imagine this can happen, tho have no previous experience: - 16mm print out and scan back to digital: quite expensive to do, even for 4min. - 35mm print out and scan back to digital: probably cheaper - though maybe the resolution is too good / the grain no present enough. Then again: Maybe this is just the necessary amount of information/sharpness needed to render the digital grain/artefacts clearly- Use a Bolex or Krasnogorsk and film the digital master from a screen or projector, develop the film and scan back to digital (?): does this give you adequate quality? I'm especially interested in this technique since its the cheapest but also because i imagine the 'sloppiness' of the bolex/krasnogorsk adds a movement/breathing that could be quite interesting for e.g. the shots that were filmed on a gimbal. Questions: - has any of you experience with filming from a screen / projector? If yes, I'd appreciate some tips regarding technique. - I guess in all the cases above it would make sense to have a digital master that is rather a little more overexposed than underexposed? - ho do overexposures end up on the film negative/scan back? does it get more organic or does it stay rather digital in its aesthetic? I hope I could express myself understandably. BestJanis 

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Re: [Frameworks] Using a Kaiser RS-1 copy stand with a Bolex?

[Jeff Kreines]

1/4-20 or better, 3/8-16. 

However if you are shooting a monitor a copy stand isn’t ideal unless the 
monitor can lay flat on its back. And lights are of course anathema to shooting 
a monitor screen!  

If using a laptop a tripod is simpler. And lights off in the room. 

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Feb 1, 2023, at 4:13 PM, Scott Dorsey  wrote:
> 
> The "camera screw" is just a 1/4-20 bolt.  Ask at your local hardware store
> and see what they can do for you.  It would be nice to have a thumbwheel on
> the end but that will get you started.
> --scott
> 
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Re: [Frameworks] breaking down frozen film?

[Jeff Kreines]

They did make 800 foot rolls but they were not too common. Jeff KreinesKinettaj...@kinetta.comkinetta.comSent from iPhone. On Jan 11, 2023, at 8:51 PM, Interbay Cinema Society  wrote:Thank you, Jeff.  I did not look at the reel too closely.  It is definitely not 1200 feet, but maybe 800?  I don't know for sure.  I appreciate your help and advice about this.  It has been awhile since I've spooled film down, and never when it has been frozen.Best,CCOn Tue, Jan 10, 2023 at 1:27 PM Jeff Kreines <j...@kinetta.com> wrote:Remember that if you want the edge numbers to read correctly you need to wind the entire roll down first and then wind back onto the 100 foot spools. 

I’ve never heard of 1000 foot 16mm rolls — might it be 1200 feet?  Remember that each 100 foot spool holds about 107-110 feet to account for threading leader so you probably will need 11 spools if it is a 1200 foot roll. 

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Jan 10, 2023, at 11:49 AM, rob...@ontosmedia.com wrote:
> 
> I would take the condensation warning seriously!  I live in Colorado, a relatively dry place, and even here unspooling frozen film can result in its getting wet, which is not something you want to spool!  I would definitely bring it up to room temperature first, though refrigerator temperature might be warm enough.
> 
> The other issue is how old is it, and when will you be shooting it?  I once had some Color Neg film that was more than 30 years old, but that had been frozen that whole time.  I thawed it and used it, and it was fine; it had a slightly elevated fog level, but worked great.  However, within some months (less than a year) the fog increased so much as to make it unusable for any representative application.
> 
> I doubt your film is that old, but do be aware that with older film, once you thaw it, the degradation clock starts ticking!  Better not to thaw it until you're about ready to use it.
> 
> -Robert Schaller
> 
>> On 2023-01-10 09:26, Christopher Ball wrote:
>> I have handled frozen film in the arctic before (-30 to -60C), both
>> loading and shooting it, and never had a problem.  It is a bit
>> stiffer, but it is still supple.  You may want to thaw it though
>> before you open it in a warm room so you don't get condensation on
>> it...or do your loading in a cold, dry room.
>> It is no problem letting it come up to temperature inside the can,
>> then load it, and then refreeze the loaded 100 footers.
>> Christopher Ball
>>> On Tue, Jan 10, 2023 at 11:25 AM Caryn Cline <carynycl...@gmail.com>
>>> wrote:
>>> Hi Frameworkers,
>>> I've inherited a 1000 foot load of 16mm film (50D) that I need to
>>> break down into 100 foot daylight spools.  It has been kept in a
>>> freezer.  I am not ready to shoot it, but storing it in a big reel
>>> in the freezer is a problem.  How should I proceed?
>>> Thank you for your advice.
>>> CC
>>> __
>>> Caryn Cline
>>> Experimental Filmmaker & Teacherwww.vimeo.com/carynyc [1]
>>> Film still from "Film Tattoo" (2020)
>>> _Breathing: brought to you by plants._  --Robin Wall Kimmerer
>>> --
>>> Frameworks mailing list
>>> Frameworks@film-gallery.org
>> https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org
>> Links:
>> --
>> [1] http://www.vimeo.com/carynyc
> 
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-- Caryn Cline
Executive Director Interbay Cinema SocietyEngauge Experimental Film Festival
www.interbaycinemasociety.org1515 12th Avenue MAINSeattle, WA 98122
 

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Re: [Frameworks] breaking down frozen film?

[Jeff Kreines]

On Jan 10, 2023, at 8:52 PM, lindsay mcintyre  wrote:I love that static damage.Me too. But the remjet backing on color negative stock reduces static. On Tue, Jan 10, 2023 at 1:27 PM Jeff Kreines <j...@kinetta.com> wrote:Remember that if you want the edge numbers to read correctly you need to wind the entire roll down first and then wind back onto the 100 foot spools. 

I’ve never heard of 1000 foot 16mm rolls — might it be 1200 feet?  Remember that each 100 foot spool holds about 107-110 feet to account for threading leader so you probably will need 11 spools if it is a 1200 foot roll. 

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Jan 10, 2023, at 11:49 AM, rob...@ontosmedia.com wrote:
> 
> I would take the condensation warning seriously!  I live in Colorado, a relatively dry place, and even here unspooling frozen film can result in its getting wet, which is not something you want to spool!  I would definitely bring it up to room temperature first, though refrigerator temperature might be warm enough.
> 
> The other issue is how old is it, and when will you be shooting it?  I once had some Color Neg film that was more than 30 years old, but that had been frozen that whole time.  I thawed it and used it, and it was fine; it had a slightly elevated fog level, but worked great.  However, within some months (less than a year) the fog increased so much as to make it unusable for any representative application.
> 
> I doubt your film is that old, but do be aware that with older film, once you thaw it, the degradation clock starts ticking!  Better not to thaw it until you're about ready to use it.
> 
> -Robert Schaller
> 
>> On 2023-01-10 09:26, Christopher Ball wrote:
>> I have handled frozen film in the arctic before (-30 to -60C), both
>> loading and shooting it, and never had a problem.  It is a bit
>> stiffer, but it is still supple.  You may want to thaw it though
>> before you open it in a warm room so you don't get condensation on
>> it...or do your loading in a cold, dry room.
>> It is no problem letting it come up to temperature inside the can,
>> then load it, and then refreeze the loaded 100 footers.
>> Christopher Ball
>>> On Tue, Jan 10, 2023 at 11:25 AM Caryn Cline <carynycl...@gmail.com>
>>> wrote:
>>> Hi Frameworkers,
>>> I've inherited a 1000 foot load of 16mm film (50D) that I need to
>>> break down into 100 foot daylight spools.  It has been kept in a
>>> freezer.  I am not ready to shoot it, but storing it in a big reel
>>> in the freezer is a problem.  How should I proceed?
>>> Thank you for your advice.
>>> CC
>>> __
>>> Caryn Cline
>>> Experimental Filmmaker & Teacherwww.vimeo.com/carynyc [1]
>>> Film still from "Film Tattoo" (2020)
>>> _Breathing: brought to you by plants._  --Robin Wall Kimmerer
>>> --
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>> https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org
>> Links:
>> --
>> [1] http://www.vimeo.com/carynyc
> 
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Re: [Frameworks] breaking down frozen film?

[Jeff Kreines]

Remember that if you want the edge numbers to read correctly you need to wind 
the entire roll down first and then wind back onto the 100 foot spools. 

I’ve never heard of 1000 foot 16mm rolls — might it be 1200 feet?  Remember 
that each 100 foot spool holds about 107-110 feet to account for threading 
leader so you probably will need 11 spools if it is a 1200 foot roll. 

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Jan 10, 2023, at 11:49 AM, rob...@ontosmedia.com wrote:
> 
> I would take the condensation warning seriously!  I live in Colorado, a 
> relatively dry place, and even here unspooling frozen film can result in its 
> getting wet, which is not something you want to spool!  I would definitely 
> bring it up to room temperature first, though refrigerator temperature might 
> be warm enough.
> 
> The other issue is how old is it, and when will you be shooting it?  I once 
> had some Color Neg film that was more than 30 years old, but that had been 
> frozen that whole time.  I thawed it and used it, and it was fine; it had a 
> slightly elevated fog level, but worked great.  However, within some months 
> (less than a year) the fog increased so much as to make it unusable for any 
> representative application.
> 
> I doubt your film is that old, but do be aware that with older film, once you 
> thaw it, the degradation clock starts ticking!  Better not to thaw it until 
> you're about ready to use it.
> 
> -Robert Schaller
> 
>> On 2023-01-10 09:26, Christopher Ball wrote:
>> I have handled frozen film in the arctic before (-30 to -60C), both
>> loading and shooting it, and never had a problem.  It is a bit
>> stiffer, but it is still supple.  You may want to thaw it though
>> before you open it in a warm room so you don't get condensation on
>> it...or do your loading in a cold, dry room.
>> It is no problem letting it come up to temperature inside the can,
>> then load it, and then refreeze the loaded 100 footers.
>> Christopher Ball
>>> On Tue, Jan 10, 2023 at 11:25 AM Caryn Cline 
>>> wrote:
>>> Hi Frameworkers,
>>> I've inherited a 1000 foot load of 16mm film (50D) that I need to
>>> break down into 100 foot daylight spools.  It has been kept in a
>>> freezer.  I am not ready to shoot it, but storing it in a big reel
>>> in the freezer is a problem.  How should I proceed?
>>> Thank you for your advice.
>>> CC
>>> __
>>> Caryn Cline
>>> Experimental Filmmaker & Teacherwww.vimeo.com/carynyc [1]
>>> Film still from "Film Tattoo" (2020)
>>> _Breathing: brought to you by plants._  --Robin Wall Kimmerer
>>> --
>>> Frameworks mailing list
>>> Frameworks@film-gallery.org
>> https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org
>> Links:
>> --
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> 
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Re: [Frameworks] Info on Showcron 16mm Flatbed

[Jeff Kreines]

Junk. Jeff KreinesKinettaj...@kinetta.comkinetta.comSent from iPhone. On Nov 18, 2022, at 8:48 AM, Julian Antos  wrote:Hello,We were offered a Showcron 4 plate flatbed and wondered if anyone has experience with these. Piece of junk or high quality machine (or somewhere in between)? I assume parts inventory is not great. Thanks!Julian -- Julian AntosChicago Film Societywww.chicagofilmsociety.org773 827 8991  
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Re: [Frameworks] preserving digital video files long-term

[Jeff Kreines]

And a hat tip to Owen Plotkin, a real mensch, who kindly provided that server 
(and the Kinetta scanner it served) a home back in the day!

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Sep 11, 2022, at 6:34 PM, owen plotkin  wrote:
> 
> Hat tip to Mr. Kreins for the nod to Bob Zelin, a giant in video technology, 
> a legend in NYC as an advisor/installer and all around good egg and ethical 
> business person !  
> Owen 
> 
> 
> 
> 
> 
>> On Sep 11, 2022, at 7:09 PM, Jeff Kreines  wrote:
>> 
>> 
>>>> On Sep 11, 2022, at 6:00 PM, S. Mullen  wrote:
>>> 
>>> Jeff you are correct about RAID 6. And between use they don't have to be 
>>> kept powered up so mechanical failure should not be a problem. Correct? 
>> 
>> Correct. This RAID server had sat for 6 or 7 years unused.  Plugged it back 
>> in and everything was fine. It had 12x 4 TB drives in RAID 6. I just added 
>> 12x 14 TB drives in RAID 5 and upgraded it to 25 GBE. 
>> 
>> Home built  in 2011 with advice from Bob Zelin. Areca RAID card, 24 bay 
>> Norco chassis, PC motherboard. Simple and reliable. Tho these days the off 
>> the shelf stuff from Synology et al is easier and doesn’t require building 
>> it yourself. 
>> 
>> I got an Atto 25 GbE to Thunderbolt 3 box and use it with my MacBook. Also 
>> use it with PCs. 
>> 
>> 
>> Jeff Kreines
>> Kinetta
>> j...@kinetta.com
>> kinetta.com
>> 
>> Sent from iPhone. 
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Re: [Frameworks] preserving digital video files long-term

[Jeff Kreines]

On Sep 11, 2022, at 6:00 PM, S. Mullen  wrote:
> 
> Jeff you are correct about RAID 6. And between use they don't have to be kept 
> powered up so mechanical failure should not be a problem. Correct? 

Correct. This RAID server had sat for 6 or 7 years unused.  Plugged it back in 
and everything was fine. It had 12x 4 TB drives in RAID 6. I just added 12x 14 
TB drives in RAID 5 and upgraded it to 25 GBE. 

Home built  in 2011 with advice from Bob Zelin. Areca RAID card, 24 bay Norco 
chassis, PC motherboard. Simple and reliable. Tho these days the off the shelf 
stuff from Synology et al is easier and doesn’t require building it yourself. 

I got an Atto 25 GbE to Thunderbolt 3 box and use it with my MacBook. Also use 
it with PCs. 


Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 
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Re: [Frameworks] preserving digital video files long-term

[Jeff Kreines]

Colorlab does very affordable digital to film transfers in both 16mm (4K) and 
35mm. 35mm with optical track is only $.50/ft. These are direct to print — so 
no generation loss, but also no negative. (They can obviously do negatives to 
but it’s much more expensive.)

But a filmout is not really the same thing as a video. Another possibility is 
to put it on the cloud, where the cloud service ostensibly keeps everything 
backed up. 

I also have a server with RAID 6 which gives double redundant spare drives. Two 
drives (total 12) can fail and the data can still be recovered automatically. 

SSDs may also be a potential backup as they have no moving parts to fail. Most 
SSD failure is caused by too many write cycles but that wouldn’t be an issue 
with a backup drive. 



Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Sep 11, 2022, at 3:52 PM, S. Mullen  wrote:
> 
> 
> Is the 6-7 years powered (spinning)? 
> 
>> On Sun, Sep 11, 2022, 1:22 PM FrameWorks Admin  
>> wrote:
>> Yes, film output is common practice. Film kept in the right conditions of 
>> temperature and humidity can last 200 years; this is called passive storage. 
>> Otherwise the digital files have to be constantly copied, called active 
>> storage. The average life span of a hard drive is 6-7 years.
>> 
>> One way to manage your files is to set up a RAID array in which the files 
>> are constantly being backed up across several drives with redundancy. In the 
>> eventuality that one drive fails, you can swap in a fresh drive and the data 
>> will be reconstructed. But it is a good idea to have two of these mirrored, 
>> and in separate locations! An easy system to set up is a Synology 
>> Diskstation, a unit the size of a toaster, with slots for 2, 4, 6 or 8 
>> drives of any size.
>> 
>> - Pip Chodorov
>> 
>> 
>> 
>>> On Sep 12, 2022, at 5:03 AM, Albert Alcoz  wrote:
>>> 
>>> Can it be an option to transfer the digital video file to 35mm or 16mm film?
>>> I heard this process is common in commercial fiction feature films that 
>>> have currently been recorded digitally in order to preserve work without 
>>> relying on hard drives.
>>> 
>>>> On Sun, Sep 11, 2022 at 7:39 PM Philip Jozef Brubaker 
>>>>  wrote:
>>>> For all of you who work with digital video, can you recommend a storage 
>>>> method to keep those files alive (as long as you are?)  External hard 
>>>> drives will fail after several years.  Other than continually moving a 
>>>> zipped file from one old drive to a new one, is there a better way to 
>>>> store and preserve your digital work for the long-term?
>>>> 
>> 
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Re: [Frameworks] Desperately seeking viewfinder mod

[Jeff Kreines]

I thought that he took the cheapest non-reflex Bolex and modified it and sold 
it as part of an optical printer. I don’t think he sold it as a separate item 
it that’s only a guess. 

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On May 24, 2022, at 9:29 PM, Anna Kipervaser  
> wrote:
> 
> 
> Does anyone happen to have one of the magical viewfinder objects that Jaakko 
> made years ago? They were built to go between non-reflex Bolexes and the 
> bellows of the JK. The pics attached are from the JK at LIFT, am wondering if 
> anyone else has one. 
> 
> Yes, I would like to own one, but if you're not willing to sell yours, I 
> still have questions. ❤️
> 
> Pics attached and visible at 
> https://drive.google.com/drive/u/0/mobile/folders/16FL1sQkO44Gh2f1x8XBwka_goFDZEZI1
> 
> Thank you, 
>  Anna
> 
> 
> ---
> anna kipervaser
> annakipervaser.com
> 
> 
> 
> 
> 
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Re: [Frameworks] film transfer question

[Jeff Kreines]

Where are you located?  Anyone with a Kinetta Archival Scanner can do it. The 
only potential problem is if the paint were to come off on the PTR rollers of 
the machine — the film would be fine but the rollers are not cheap.


Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Dec 7, 2021, at 6:28 PM, Charles Chadwick  
> wrote:
> 
> 
> Hi folks, 
> 
> I'm looking for a lab that would be comfortable transferring hand-painted 
> film (painted with dr. martin's inks), scratched and taped film, to 1080p, 
> Does anyone know of anyplace? I can rephotograph it, but I don't have access 
> to an optical printerrephotography would be just a camera and projector. 
> Thanks for any info.
> 
> -charles
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Re: [Frameworks] Double-8 camera ---> 16mm projection

[Jeff Kreines]

You can’t use double perf 16 film on a double 8 camera as it lacks half the 
required perfs.  You can shoot Double 8 in a 16mm camera. 

Louis Hock’s film Silent Reversal is a good example of this. 

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Nov 24, 2021, at 3:48 PM, Esperanza Collado  
> wrote:
> 
> I have used double-8 once and it's interesting, as you can use double perf 
> 16mm film...

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Re: [Frameworks] Sound-centric films: excellence in sound design

[Jeff Kreines]

Andrew:

I posted this to a FB sound group that Randy Thom is always present on. Hope 
that’s ok. 

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Nov 13, 2021, at 4:25 PM, Andrew Skalak  wrote:
> 
> I am interested in finding films that are particularly interested in and make 
> exceptional use of sound.

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Re: [Frameworks] New VOD platform: Re:Voir Online

[Jeff Kreines]

Pip:

Does the app let you “cast” to a smart TV?  YouTube does, it’s quite useful. 

Best wishes,

Jeff

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Oct 21, 2021, at 11:23 AM, FrameWorks Admin  wrote:
> 
> 
> Dear FrameWorkers,
> 
> I am happy to announce the launch of Re:Voir’s VOD platform “Re:Voir Online” 
> which is an app for iPhone and iPad (with an Android version coming this 
> winter). It is free to download and free to watch clips and trailers. To 
> celebrate our launch, the subscriptions to watch full films will also 
> automatically start with a 30 day free promo, until the end of this year.
> 
> The link is here: https://apps.apple.com/us/app/online-re-voir/id1545131544
> 
> Currently 159 films are available by 54 filmmakers including Maya Deren, 
> Michael Snow, Philippe Garrel, Dominic Angerame, Stan Brakhage, Storm de 
> Hirsch, Sandy Ding, Rose Lowder, Holly Fisher, Peter Gidal, Jonas and Adolfas 
> Mekas, Maurice Lemaitre, Isidore Isou, Marie Losier, Vivian Ostrovsky, 
> Jacques Perconte, Jeff Scher, Robert Todd, MM Serra, Larry Gottheim, Peter 
> Goldman, Tony Conrad, Adolfo Arrietta and many more. New films are being 
> added every week. 
> 
> I founded Re:Voir in 1994 as a VHS label for experimental film in Paris. Ten 
> years later DVD took over the market but the MPEG compression algorithms 
> didn’t work well for experimental films and we refused to make them. Over the 
> next few years this improved and for the past ten years we have been 
> releasing DVDs every month. We celebrated our 25th anniversary last year.
> 
> But I have been working in South Korea for a few years and I saw right away 
> there is no market for DVD here. Everyone watches films on their devices. We 
> have developed this app in order to provide films to places like this where 
> DVDs are not sold, so the films can be discovered by a new young audience 
> around the world. We are continuing to publish DVD and Blu-Ray (our latest 
> releases are Siegfried Fruhauf, Dore O and Werner von Mutzenbecher, with a 
> Marie Losier blu-ray coming in December). The app is being developed in 
> parallel, and to avoid a gap in the future, as we had between VHS and DVD.
> 
> Please send me any feedback about the app, bugs, or features you would like 
> to see. If you know how to develop and program apps I would love to be in 
> touch with you. And thanks always for supporting independent filmmakers and 
> independent labels.
> 
> Pip Chodorov, Re:Voir
> 
> 
> 
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Re: [Frameworks] Kodak neg stocks with a Canon 814 Autozoom?

[Jeff Kreines]


> When transferring b/w reversal film to digital scans it is better to be 
> overexposed.

Don’t do it!!!  First, does the film appear properly exposed over a lightbox?
Is your meter accurate and are you using it accurately?  Is it processed 
correctly?

With any reversal stock always err towards underexposure. If you overexpose and 
blow out highlight detail it can’t be recaptured.  

The problems you had with your scans in Premiere could be caused by the scans 
themselves, or by the file format they were saved to.  Always try to save to a 
12-bit or 16-bit format with the most potential dynamic range. Also, when 
scanning, try to make the best use of all of those bits — don’t throw any away. 
 Never scan to an 8-bit format. And use Resolve.  You can often make a lousy 
scan look passable, or make a good scan look amazing. 

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com


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Re: [Frameworks] Free Film Handling Equipment/Supplies

[Jeff Kreines]

Don’t. Not doesn’t. 

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Aug 20, 2021, at 7:27 PM, Jeff Kreines  wrote:
> 
> Griswold splicers doesn’t even work well as door stops!  That blade rips 
> film!
> 
> Jeff Kreines
> Kinetta
> j...@kinetta.com
> kinetta.com
> 
> Sent from iPhone. 
> 
>>> On Aug 20, 2021, at 5:09 PM, Julian Antos  
>>> wrote:
>>> 
>> 
>> Everything has been claimed, thanks!
>> 
>>> On Fri, Aug 20, 2021 at 4:39 PM Julian Antos 
>>>  wrote:
>>> This stuff is headed to the alley next week unless claimed here. 
>>> 
>>> Happy to ship within the US - easiest if you can send a label or UPS/Fedex 
>>> number. 
>>> 
>>> FREE:
>>> Dual 8 Viewer - works, poor quality but clean
>>> Reg 8 Viewer - works, brighter than some models
>>> Kodak Presstape Splicer - 16mm/8mm - Have several of these
>>> Griswold 8/16mm Cement Splicer 
>>> Griswold 16mm Cement Splicer
>>> Hollywood 8/16mm Presstape Splicer
>>> 35mm Rewinds - Rough condition but will get the job done
>>> 1200' 16mm Plastic Reels 
>>> 800' "Pilo Magic" 16mm Plastic Cans
>>> 
>>> Thanks!
>>> -- 
>>> Julian Antos
>>> Chicago Film Society
>>> Now in our tenth year!
>>> www.chicagofilmsociety.org
>>> www.patreon.com/cfs
>>> 773 827 8991
>>> 
>>>   
>>> 
>> 
>> 
>> -- 
>> Julian Antos
>> Chicago Film Society
>> Now in our tenth year!
>> www.chicagofilmsociety.org
>> www.patreon.com/cfs
>> 773 827 8991
>> 
>>   
>> 
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Re: [Frameworks] Free Film Handling Equipment/Supplies

[Jeff Kreines]

Griswold splicers doesn’t even work well as door stops!  That blade rips film!

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Aug 20, 2021, at 5:09 PM, Julian Antos  
> wrote:
> 
> 
> Everything has been claimed, thanks!
> 
>> On Fri, Aug 20, 2021 at 4:39 PM Julian Antos  
>> wrote:
>> This stuff is headed to the alley next week unless claimed here. 
>> 
>> Happy to ship within the US - easiest if you can send a label or UPS/Fedex 
>> number. 
>> 
>> FREE:
>> Dual 8 Viewer - works, poor quality but clean
>> Reg 8 Viewer - works, brighter than some models
>> Kodak Presstape Splicer - 16mm/8mm - Have several of these
>> Griswold 8/16mm Cement Splicer 
>> Griswold 16mm Cement Splicer
>> Hollywood 8/16mm Presstape Splicer
>> 35mm Rewinds - Rough condition but will get the job done
>> 1200' 16mm Plastic Reels 
>> 800' "Pilo Magic" 16mm Plastic Cans
>> 
>> Thanks!
>> -- 
>> Julian Antos
>> Chicago Film Society
>> Now in our tenth year!
>> www.chicagofilmsociety.org
>> www.patreon.com/cfs
>> 773 827 8991
>> 
>>   
>> 
> 
> 
> -- 
> Julian Antos
> Chicago Film Society
> Now in our tenth year!
> www.chicagofilmsociety.org
> www.patreon.com/cfs
> 773 827 8991
> 
>   
> 
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Re: [Frameworks] HELP WITH A AATON Minima 16mm // Fuse??

[Jeff Kreines]

What happens when you put the batteries in correctly? Anything?  Have you 
tested the batteries?

You might want to try the Aaton group on Facebook...


Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Apr 27, 2021, at 12:38 AM, luis ?  wrote:
> 
> 
>  Hello frameworkers,
> 
> I have a Aaton minima 16mm camera which uses 4 x 3v batteries...
> 
> I´m using it for a film but just now I connected the batteries with the 
> reversal polarity accidentally...
> 
> Could I broke the camera with the reversal polarity power of the 4 x 3v 
> batteries I read on the manual about a fuse...but i don't know where it 
> is...
> I´m not using the power base. 
> 
> Anybody knows where are the fuse??   
> 
> Thanks so much
> Luis
> -
> Luis Macías
> http://luismacias.es/
> 
> 
> 
> <79de48ab-20a3-451a-823a-a222da6c7104.jpg>
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Re: [Frameworks] HELP WITH A AATON Minima 16mm // Fuse??

[Jeff Kreines]

What happens when you put the batteries in correctly? Anything?  Have you 
tested the batteries?

You might want to try the Aaton group on Facebook...

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Apr 27, 2021, at 12:38 AM, luis ?  wrote:
> 
> 
>  Hello frameworkers,
> 
> I have a Aaton minima 16mm camera which uses 4 x 3v batteries...
> 
> I´m using it for a film but just now I connected the batteries with the 
> reversal polarity accidentally...
> 
> Could I broke the camera with the reversal polarity power of the 4 x 3v 
> batteries I read on the manual about a fuse...but i don't know where it 
> is...
> I´m not using the power base. 
> 
> Anybody knows where are the fuse??   
> 
> Thanks so much
> Luis
> -
> Luis Macías
> http://luismacias.es/
> 
> 
> 
> <79de48ab-20a3-451a-823a-a222da6c7104.jpg>
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Re: [Frameworks] Repairs.

[Jeff Kreines]

I believe that Urbanski Film repairs Elmo TRVs. 

http://www.urbanskifilm.com/elmo.html


Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Apr 21, 2021, at 9:11 PM, Ethan Berry  wrote:
> 
> 
> 
> CB,
> I am not too familiar with the Elmo transfer machine. We have one at AgX film 
> Collective in Boston. Back before.. when we did workshops it was used to scan 
> the workshop films. 
> However there is someone who has built a sequencers for the JK at our lab.
> His name is Matt McWilliams here is his website;  
> https://sixteenmillimeter.com/
> 
> Ethan Berry
> ANYEYE Film Lab
> Montserrat College of Art 
> 23 Essex Street,
> Beverly, MA 01915 
> 
> 
> 
>> On Wed, Apr 21, 2021 at 9:01 PM  wrote:
>> Send Frameworks mailing list submissions to
>> frameworks@film-gallery.org
>> 
>> To subscribe or unsubscribe via the World Wide Web, visit
>> http://film-gallery.org/mailman/listinfo/frameworks_film-gallery.org
>> or, via email, send a message with subject or body 'help' to
>> frameworks-requ...@film-gallery.org
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>> You can reach the person managing the list at
>> frameworks-ow...@film-gallery.org
>> 
>> When replying, please edit your Subject line so it is more specific
>> than "Re: Contents of Frameworks digest..."
>> Today's Topics:
>> 
>>1. repairs? (c b)
>>2. Re: repairs? (Scott Dorsey)
>>3. Re: Experiments in Cinema (online) International film
>>   festival - Indigenous Peoples Edition (Eric Theise)
>> 
>> 
>> 
>> -- Forwarded message --
>> From: c b 
>> To: "frameworks@film-gallery.org" 
>> Cc: 
>> Bcc: 
>> Date: Wed, 21 Apr 2021 23:30:16 +
>> Subject: [Frameworks] repairs?
>> Greetings all,
>> 
>> I am scheduled to teach experimental film in the Spring of 2022 and need to 
>> repair some equipment: an Elmo TRV S8 telecine for one. It's been years 
>> since we sent it out for repairs, so I'm unsure who is still doing this 
>> work.  DUALL may be able to repair the projector, but I also found a place 
>> called Denevi Digital. They also offer upgrades. Heard of it?
>> 
>> Years ago, we sent it to Abdul, but it continued to have the same problem. 
>> Is he still around? 
>> 
>> Other recommendations for projector/camera repairs?
>> 
>> Anyone building sequencers for the JK? or modifying them for digital capture?
>> 
>> I really appreciate any help you can provide.
>> Cade
>> 
>> 
>> 
>> -- Forwarded message --
>> From: Scott Dorsey 
>> To: frameworks@film-gallery.org
>> Cc: 
>> Bcc: 
>> Date: Wed, 21 Apr 2021 19:42:34 -0400
>> Subject: Re: [Frameworks] repairs?
>> I have dealt with Denevi and they do good work.  They have standard Eiki
>> parts but also have some of the wacky video parts involved in the
>> transvideo machines.  They have technicians who can do proper component-level
>> repairs.
>> 
>> I personally do not think it is worth the money to upgrade one of the
>> transvideo machines; I think the results are far better than an unmodified
>> machine but not in the same league as a line scanner.  The transvideo is
>> very handy for making quick and dirty audition copies; I use mine for making
>> video dubs for going off to composers doing soundtracks and the like
>> and it is just great for that kind of thing.
>> --scott
>> 
>> 
>> 
>> 
>> 
>> -- Forwarded message --
>> From: Eric Theise 
>> To: Experimental Film Discussion List 
>> Cc: 
>> Bcc: 
>> Date: Wed, 21 Apr 2021 17:58:20 -0700
>> Subject: Re: [Frameworks] Experiments in Cinema (online) International film 
>> festival - Indigenous Peoples Edition
>> Hi Bryan,
>> 
>> Kudos for keeping the flame burning brightly in these pandemic times. Any 
>> idea when a schedule of v16.1 screenings and other events will be posted to 
>> your experimentsincinema.org site?
>> 
>> Thanks, Eric
>> 
>> 
>>> On Wed, Apr 21, 2021 at 4:28 PM bryan konefsky 
>>>  wrote:
>>> Hi all! Team Basement Films is proud to announce our 16th edition of 
>>> Experiments in Cinema which will be available FREE May 1 - 22, 2021. Please 
>>> access all our programming through our website 
>>> (www.experimentsincinema.org). This year we are featuring an Indigenous 
>>> Peoples focus with programming curated by native curators Raven Chacon, 
>>> Marcella Ernest and Sall

Re: [Frameworks] Saul Levine?

[Jeff Kreines]

Saul has posted as recently as 2 days ago on Facebook. 

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Apr 13, 2021, at 4:22 AM, Elena Duque  wrote:
> 
> 
> Dear Frameworkers
> 
> I have been trying to reach Saul Levine the past weeks, but I couldn't. I was 
> wondering if maybe he changed his email address, I sent an email to his gmail 
> address and also tried Facebook with no luck. Any information will be 
> appreciated.
> 
> Thank you all!
> Warm regards,
> 
> -- 
> Elena Duque Viña
> Telf: (+34) 605431072 
> http://cargocollective.com/elenaduque
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Re: [Frameworks] Arri S modifications from 16mm to Super 16

[Jeff Kreines]

While DuAll does good work, it seems crazy to me to sink $3500 into an Arri S. 
Remember you need lenses that cover S16 (a problem with wide lenses and zooms). 

Unless the Arri S is a camera you love and have used forever, and sync sound 
and 400-foot rolls matter not to you, I’d suggest you look at newer used 
cameras. 

For tiny but difficult to thread there's  the Aaton A-Minima. Any Aaton LTR or 
later  — either factory S16 or converted (make sure LTR mags have the crossover 
roller flipped — are nice on your shoulder.   If you can find a decent French 
Eclair ACL with 200 foot mags, it’s a small camera that’s fun to use. That’s a 
minority opinion, and they are kind of fragile. 




Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Apr 6, 2021, at 4:01 PM, Jesse Lerner  wrote:
> 
> 
> Can anybody offer advice or recommendations on modifying an Arri S to shoot 
> super 16?  I see there are several camera shops that do this, such as this 
> company in New Jersey:
> http://www.duallcamera.com/services/index.shtml
> 
> Is there any particular place that does a better job than the others?
> Thanks,
> jl
> 
> -- 
> Jesse Lerner
> 593 Glendale Blvd.
> Los Angeles, CA  90026  USA 
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Re: [Frameworks] Advice on archival workflow and hardware for Super 8 and 16mm

[Jeff Kreines]

Always scan at the highest resolution possible — especially with small-format 
film. 

This old test (made when 3K was our highest res vs. our current 6.5K) shows 
why. Page 9, especially. 

https://www.dropbox.com/s/stkxngoftc656vq/Memoriav%20Dossier%20--%20a%20response%20-%202012.pdf?dl=0

As far as capturing the entire dynamic range of even contrasty film, Barbara 
Fluekiger’s Timeline of Historic Color Processes group tested high-end 
scanners. The Kinetta was superior in scanning the most difficult material — 
Technicolor IB prints. The report is pretty dry, and doesn’t mention the fact 
that after testing all of these machines, they bought a Kinetta. 

https://www.dropbox.com/s/zr48xz1nnrjfuiu/Diastor%202018c%20%20flueckigeretal_investigationfilmmaterialscannerinteraction_2018_v_1-1c.pdf?dl=0

In the US you can get Kinetta scans at Colorlab, the Chicago Film Archive, 
Movette Film Transfer, the USC Hefner Film Archive, among others. 

 


Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Apr 6, 2021, at 10:18 AM, Rick Prelinger  wrote:
> 
> While it is certainly oversampling, we have found that the Scanstation makes 
> much better scans from 8 and S8 in 4K as opposed to 2K. If you are talking 
> about a small collection it will fit on a single drive. We keep three copies 
> in different locations. And I echo the thought that scanning is not a 
> one-time affair; there will always be reasons why one wants to go back and 
> rescan in the future, especially as sensors become able to capture elements 
> of the image that contain visual or other information.
> 
> Rick
> 
> Rick Prelinger / @footage
> Prelinger Archives, San Franciscohttp://www.prelinger.com (recently 
> updated)
> foot...@panix.com
> 
> Chair and Professor, Film & Digital Media, UC Santa Cruz
> Kenneth R. Corday Family Presidential Chair in Writing for Television & Film
> r...@ucsc.edu
> 
> Prelinger Library, San Francisco (http://www.prelingerlibrary.org), a member 
> of the Intersection Incubator, a program of Intersection for the Arts 
> providing fiscal sponsorship, incubation and consulting to artists 
> (http://www.theintersection.org). 
> 
> 
> 
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Re: [Frameworks] Eclair NPR Magazine

[Jeff Kreines]

EBay. Usually about $100. 

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Feb 3, 2021, at 1:10 PM, mariah garnett  wrote:
> 
> I usually get my NPR parts on eBay.
> 
> Sent from my iPhone
> 
>> On Feb 3, 2021, at 10:19 AM, Matthew Altman  
>> wrote:
>> 
>> Hi there,
>> 
>> I was hoping to find an Eclair NPR magazine for sale and thought I would try 
>> to reach out to the Frameworks community. 
>> 
>> Let me know if you have any suggestions.
>> 
>> Thank you,
>> Matthew 
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> 
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Re: [Frameworks] Film lab in San Francisco?

[Jeff Kreines]

Colorlab is an excellent choice. So is Movette. 

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Jan 26, 2021, at 1:55 AM, Marie Losier  wrote:
> 
> dear

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Re: [Frameworks] Film lab in San Francisco?

[Jeff Kreines]

That list is way out of date. 

What lab services do you need?  What kind of film stock? What format?  That 
will help determine which lab can help you.  No labs in SF unless you just need 
film scanning. LA has Fotokem and Pro8mm.  DC area has Colorlab. Boston has 
Cinelab. NY’s Metropolis has started processing reversal. 

There may be others but sadly not many. 

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Jan 25, 2021, at 11:19 PM, Marie Losier  wrote:
> 
> 
> Thank you all so dearly I really appreciate your help and generous rapid 
> return.
> All my best and I will try all you suggested
> Amitiés
> Marie 
> 
>> On Mon, Jan 25, 2021 at 6:34 PM Dennis Doros  wrote:
>> Dear Pip,
>> 
>> The FIAF list of film labs can be found here: 
>> https://www.fiafnet.org/pages/e-resources/film-labs-list.html and there are 
>> none in SF. The lab in California I use is Fotokem and my contact there is 
>> Kim Young 
>> My other friend there is 
>> Andrew Oran 
>> and he's a lab guy who's very, very good.
>> She can use my name.
>> 
>> If she still needs a film lab in SF and wants to double-check, she can ask 
>> my friend at the PFA who would know: Antonella Bonfanti 
>>  She used to be the director of Canyon Cinema 
>> and would definitely know if there are any there.
>> 
>> Please send Marie regards from Milestone. :-)
>> 
>> 
>> Fondest regards,
>> Dennis Doros
>> Milestone Film & Video • PO Box 128 • Harrington Park, NJ 07640
>> Phone: +1 (201) 767-3117 • Email: milefi...@gmail.com • www.milestone.film
>> 
>> President, Association of Moving Image Archivists
>> amiapresid...@amianet.org • www.amianet.org
>> 
>> Pronouns: He, Him, His
>> 
>> JOIN MILESTONE'S MAILING LIST TODAY!
>> Support us on Facebook and Twitter!
>> 
>> 
>> 
>> 
>> 
>> 
>> 
>>> On Mon, Jan 25, 2021 at 9:12 PM FrameWorks Admin  
>>> wrote:
>>> Dear FrameWorks,
>>> Filmmaker Marie Losier is currently shooting in San Francisco and asked me 
>>> desperately to suggest a lab there for 16mm processing and scanning. Any 
>>> recommendations?
>>> Thanks, Pip Chodorov
>>> -- 
>>> Frameworks mailing list
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> 
> Marie Losier
> http://www.marielosier.com
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