Re: [Frameworks] The eye in experimental cinema

[John Muse]

Yoko Ono's Eye Blink: http://www.ubu.com/film/ono.html
Many scenes from Blade Runner, from the opening sequence to the Voigt Kampf.

On Oct 30, 2015, at 4:59 PM, Jorge Lorenzo Flores Garza 
 wrote:

> Paul Sharits' T,O,U,C,H,I,N,G certainly references Un Chien Andalou and the 
> idea of the cut as a violent assault on the eye.  I think both films actually 
> mock the Kuleshov effect by actually presenting the slash one way or another. 
>  Un Cien Andalou doesn't stop the cutting after the cloud slashes the moon 
> and Sharits yuxtaposes the cut when both images run frantically one after the 
> other at 24 frames per second.
> 
> 
> 
> > From: john.sundh...@ims.su.se
> > To: frameworks@jonasmekasfilms.com
> > Date: Thu, 29 Oct 2015 21:24:32 +
> > Subject: Re: [Frameworks] The eye in experimental cinema
> > 
> > Guy Sherwin's series of eye-films
> > Olle Hedman's Coca strip
> > 
> > 
> > 
> > > 29 okt. 2015 kl. 21:39 skrev Ryder White :
> > > 
> > > Hello Frameworkers,
> > > 
> > > I am currently embarked on designing an installation the draws on 
> > > cinematic instances of the human eye and, as I write about it, I'm 
> > > interested in finding examples of the eye as a major symbolic device, 
> > > particularly in the realm of experimental and avant-garde cinema. I can 
> > > think up a couple of examples...Man With The Movie Camera, for instance, 
> > > or Un Chien Andalou, but I'd be happy to hear of other such appearances.
> > > 
> > > If it helps narrow the (admittedly broad) field, of particular interest 
> > > are examples where the eye is used to refer to the cinematic apparatus 
> > > itself, or the camera's voyeur qualities.
> > > 
> > > Thanks in advance!
> > > 
> > > Ryder
> > > ___
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> > ___
> > FrameWorks mailing list
> > FrameWorks@jonasmekasfilms.com
> > https://mailman-mail5.webfaction.com/listinfo/frameworks
> ___
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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

*



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Re: [Frameworks] data recovery help

[drawclose.com]

Mac or PC?

Jessica

*
http://www.drawclose.com

> On Oct 30, 2015, at 10:01 PM, mariah garnett  wrote:
> 
> ok. so i just did one of the dumber things i've done in a while and erased 
> some footage i just had telecined and then emptied the trash. And it isn't 
> backed up. obviously i thought it was, but i was in a haze of hard drive 
> cleaning.
> 
> is there any hope for me or did i just throw $800 in the digital garbage? 
> does anyone know of any data recovery software that can undo this?
> 
> ugh.
> thanks.
> 
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Re: [Frameworks] data recovery help

[mariah garnett]

mac! i used iskysoft and it recovered the files, in case this happens to
anyone else...

On Fri, Oct 30, 2015 at 8:50 PM, drawclose.com  wrote:

> Mac or PC?
>
> Jessica
>
> *
> http://www.drawclose.com
>
> > On Oct 30, 2015, at 10:01 PM, mariah garnett 
> wrote:
> >
> > ok. so i just did one of the dumber things i've done in a while and
> erased some footage i just had telecined and then emptied the trash. And it
> isn't backed up. obviously i thought it was, but i was in a haze of hard
> drive cleaning.
> >
> > is there any hope for me or did i just throw $800 in the digital
> garbage? does anyone know of any data recovery software that can undo this?
> >
> > ugh.
> > thanks.
> >
> > ___
> > FrameWorks mailing list
> > FrameWorks@jonasmekasfilms.com
> > https://mailman-mail5.webfaction.com/listinfo/frameworks
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
>
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Re: [Frameworks] Film to digital photo to video on a JK

[Zach Poff]

 

I didn't have time at work to look back through my build documents, but
here are some answers to most of the questions from Chris: 

The general operation is as you describe. (Clarification: The projector
motor runs constantly during capture. It doesn't stop/start for each
frame since the intermittent projector movement handles that.) If the
software sees signs of a dropped frame, it will stop the projector and
warn the user, but there's no way to know for sure. I've been using it
for several years at about 4.15fps without many problems. (max speed
discovered via trial and error) 

I didn't get screen grabs of the other windows, but will try on Monday. 

Captures are 8bit, due to several factors: All inexpensive cameras with
HDMI live feeds were 8bit a few years ago when I built it. More
importantly, Max can't capture higher than 8bit anyway! 

The color values are all manual. We dialed in a custom WB setting on the
cam after tuning the LED control code, so if you pull the software RGB
sliders up together you'll get a pretty balanced grayscale. We use the
camera's picture modes to make the most of the 8bit signal: A
low-contrast profile for reversal and a high-contrast profile for neg. 

The Blackmagic capture boxes should work fine. Max is undergoing a
transition from Quicktime capture to AVFoundation so their capture code
was just re-written to directly grab from BMD devices. Haven't tried it
myself. For now I'm sticking with years-old Matrox drivers and the old
Quicktime capture code. If it aint broke... 

We're running it on a 2010 Mac Pro tower (sorry, forgot CPU specs) with
16GB RAM and an SSD for capture. Then we render onto a conventional HD.
Not a fast setup by today's standards, but it's a workhorse. 

The LED is a 40W RGB unit with multiple dies under a single lens. It
requires about 24v and we run it at way less than 40W. It's similar to
this one:
http://www.mouser.com/ProductDetail/LED-Engin/LZC-83MC00/?qs=sGAEpiMZZMtPzP3zsh8uzJaSIyo3FeiS
We can keep the enlarger lens at f5.6 or f8 for 90% of transfers, with
the option to open up if we run out of light. (The camera stays at its
lowest ISO.) 

We dim the LED channels with 3 hacked driver boards [1] that were
originally intended for little MR16 LED reflector bulbs, based on the
Powtech PT4115 chip. They keep constant-current and have a PWM input,
which we drive with the Arduino at a faster-than-usual PWM frequency to
avoid flicker. (I originally tried current-based dimming but there's not
enough accuracy in the low range for accurate color mixing.) 

The motor is a fancy Buehler gearhead unit with an integrated driver
that I got via surplus. No longer available anywhere. Any low speed,
high torque motor would work, via a PWM motor driver. 

I think the most important projector considerations are slot-loading,
gentle film handling, and enough room in the lens area to center your
enlarger lens without hitting the chassis. The Eiki's removable lens
mount was a huge help! Secondary factors would include belt-drive for
easy motor swap, and enough room in the lamphouse for the LED heatsink.
Eiki slot-loaders meet these criterion, and the back door swings open
for easy access too! 

100ft capture takes about 15min, then another 10ish to render. 

Max has a built-in scope [2] object (vectorscope, WFM, parade, histo).
They cost a fair bit of processing overhead, but it's certainly doable. 

Hope ity helps. I'll try to put this on my website next week. Even a
quick braindump is better than nothing! 

> Hi Zach,
> 
> First off thank you for your detailed and inspiring response! It helps to 
> know about the shutter. If you have time to answer them, I have several 
> questions and would greatly appreciate your feedback either here or off-list 
> to help me further conceptualize my project. I must to say that I haven't 
> worked in Max yet and I'm a little lost on a few principles that your system 
> is based on. 
> 
> * The general interface/communication. >From what I can glean the camera is 
> initialized into a video mode, then motor advances the film one frame, the 
> arduino /+ PWM controller power on the LEDs once and TC Controller captures 
> this event as a single frame in a video? Lather, rinse, repeat... * It'd be 
> helpful to see screencaps of the capture and frame sensor settings just to 
> get an idea of what other control your system affords
> 
> * At what bit depth are you capturing? 
> 
> * When the software checks the sprocket hole brightness do you use this to 
> automatically configure the color space values?
> 
> * Would something like the Blackmagic Ultrastudio Mini suffice in place of 
> the Matrox?
> 
> * Specs of the machine running this
> 
> * LED specs
> 
> * Motor specs
> 
> * Important characteristics of the projector? I'd assume an easily removable 
> gate, no Kodak worm gear BS, so on... 
> 
> * Amount of time to capture 100' of film (~20' for capture only?)
> 
> * Could you theoretically implement a WFM or histogram into 

[Frameworks] data recovery help

[mariah garnett]

ok. so i just did one of the dumber things i've done in a while and erased
some footage i just had telecined and then emptied the trash. And it isn't
backed up. obviously i thought it was, but i was in a haze of hard drive
cleaning.

is there any hope for me or did i just throw $800 in the digital garbage?
does anyone know of any data recovery software that can undo this?

ugh.
thanks.
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Re: [Frameworks] The eye in experimental cinema

[Jorge Lorenzo Flores Garza]

Paul Sharits' T,O,U,C,H,I,N,G certainly references Un Chien Andalou and the 
idea of the cut as a violent assault on the eye.  I think both films actually 
mock the Kuleshov effect by actually presenting the slash one way or another.  
Un Cien Andalou doesn't stop the cutting after the cloud slashes the moon and 
Sharits yuxtaposes the cut when both images run frantically one after the other 
at 24 frames per second.



> From: john.sundh...@ims.su.se
> To: frameworks@jonasmekasfilms.com
> Date: Thu, 29 Oct 2015 21:24:32 +
> Subject: Re: [Frameworks] The eye in experimental cinema
> 
> Guy Sherwin's series of eye-films
> Olle Hedman's Coca strip
> 
> 
> 
> > 29 okt. 2015 kl. 21:39 skrev Ryder White :
> > 
> > Hello Frameworkers,
> > 
> > I am currently embarked on designing an installation the draws on cinematic 
> > instances of the human eye and, as I write about it, I'm interested in 
> > finding examples of the eye as a major symbolic device, particularly in the 
> > realm of experimental and avant-garde cinema. I can think up a couple of 
> > examples...Man With The Movie Camera, for instance, or Un Chien Andalou, 
> > but I'd be happy to hear of other such appearances.
> > 
> > If it helps narrow the (admittedly broad) field, of particular interest are 
> > examples where the eye is used to refer to the cinematic apparatus itself, 
> > or the camera's voyeur qualities.
> > 
> > Thanks in advance!
> > 
> > Ryder
> > ___
> > FrameWorks mailing list
> > FrameWorks@jonasmekasfilms.com
> > https://mailman-mail5.webfaction.com/listinfo/frameworks
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
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Re: [Frameworks] Luther Price exhibition in NYC closes on Halloween!

[Francisco Torres]

Mark Pauline had an accident in 1982 while  mixing rocket fuel for a SRL
performance. He lost most of his right hand fingers which were replaced by
toes after many surgeries.

info from the SRL site- warning very disturbing medical images-

How Mark Pauline Blew Up His Hand 

http://srl.org/yard/misc/injury.html

2015-10-29 22:28 GMT-04:00 Warren Cockerham :

> I don't know about Mark Pauline. Luther Price was shot at close range in
> the abdomen with an assault rifle 30 years ago. The accident happened in
> Nicaragua. The US confiscated his medical records when he returned from his
> trip that summer. He created 11 sculptures in the fall of 1985 at MassArt
> based on this experience. Luther's wound didn't heal that fall; he was
> changing his dressings 3 times a day. That December, he returned to the
> hospital for reexamination and the bullet was finally found and removed.
> This injury along with the death of Luther's sister, mother, and father
> (all died from cancer) from 1998-2001, inform much of the medical imagery
> found in his slide, film, and now painting work. There are also 4
> sculptures in the exhibition from that period - one of which is a
> self-portrait. And, as the quote from the article states, one was made
> prior to the shooting. The bullet is on display in a vitrine at the gallery
> along with other artifacts from Luther's childhood and from his early film
> work. I'm working on a transcription of a 2 1/2 hour interview with Luther
> that we recorded just before the show opened. I hope to have it finished
> soon.
>
> Warren
>
>
>
>
> On Oct 29, 2015, at 2:21 PM, Francisco Torres 
> wrote:
>
>  ''Four mummified-looking sculptures produced in 1984 and '85—*one made
> before his injury and three made afterward*—frame a collection of
> image-based work that both depicts and undergoes degradation.'' Injury?
> Like Mark Pauline?
>
> 2015-10-29 12:58 GMT-04:00 Warren Cockerham :
>
>> Hello Frameworkers:
>>
>> In case you're in NYC and you're looking for something to do on
>> Halloween, check out *The Dry Remains *at Callicoon Fine Arts at 49
>> Delancey St. Art in America called it "the Lower East Side's most morbid
>> show this season." Mark Mcelhatten, a long-time friend of Luther's, said
>> the show is "the best of Luther artifacts in captivity I have seen wall to
>> wall. Really moving and great honor to his work."
>>
>> Art in America Article-
>> http://www.artinamericamagazine.com/exhibitions/luther-price/
>>
>> Callicoon Fine Arts' website with hours of operation (W-SUN 10am - 6pm) -
>> http://callicoonfinearts.com/exhibitions/luther-price/
>>
>> My deepest gratitude goes to Photi Giovanis for allowing Luther and me to
>> come in his gallery, darken his windows, turn off the lights, and
>> traumatize his patrons and passerbys.
>>
>> -- Warren Cockerham
>> NYC and Boston (and Providence!)
>>
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>>
>>
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