[Frameworks] 35mm/16mm raw stock for sale.
Hi all, I have some raw stock short ends and recans for sale that I will be listing in the coming days. Ranging from Vision3 to Fuji Eterna, the film had been stored in a cool, dark room for most of its time in storage. I have shot some of the Vision3 stock and had great results (see https://vimeo.com/147604412), but I haven't tested every stock so all stock all film sales are as-is with no returns and are priced accordingly. All prices are in USD: Kodak 5219 Vision3 500T: Recan: 10 cents per foot Short ends: 5 cents per foot Fuji Eterna and Eterna vivid: 5 cents per foot Kodak 5218 Vision2: 4 cents per foot Older Kodak (VISION, EXR): 2.5 cents per foot I'd love to keep it all, but I have an upcoming shoot I need to finance, so I'm selling what I can. Here's the initial offering: Kodak 5219 Vision3 500T #1. 250ft se $12.50 #2. 370ft se $18.50 #3. 400ft recan $40 #4. 400ft recan $40 #5. 400ft recan $40 #6. 400ft recan $40 #7. 400ft recan $40 #8. 240ft se $12 #9. 550ft se $27.50 16mm 7219 Vision3 500T #10. 400ft recan $40 #11. 400ft recan $40 Fuji 8553 Eterna 250T #12. 800ft $40 #13. 740ft $37 Fuji 8573 Eterna 500T #14. 550ft $27.5 Kodak 5218 Vision2 500T #15. 220ft $8.80 #16. 220ft $8.80 #17. 240ft $9.60 #18. 200ft $8 #19. 180ft $7.20 #20. 200ft $8 #21. 200ft $8 #22. 220ft $8.80 #23. 220ft $8.80 #24. 210ft $8.40 #25. 200ft $8 #26. 220ft $8.80 #27. 220ft $8.80 #28. 230ft $9.20 #29. 230ft $9.20 #30. 220ft $8.80 #31. 200ft $8 #32. 200ft $8 #33. 180ft $7.20 #34. 220ft $8.80 #35. 160ft $6.40 #36. 260ft $10.40 #37. 280ft $11.20 #38. 320ft $12.80 #39. 210ft $8.40 #40. 190ft $7.60 #41. 200ft $8 #42. 270ft $10.80 Cheers! -Jesse- ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
[Frameworks] BFI Southbank Jean-Luc Godard retrospective and events
Some frameworkers might be interested in this complete retrospective of the films and videos of Jean-Luc Godard that Michael Temple and I have curated in association with the British Film Institute. It runs at BFI Southbank in London from 1 January to 16 March 2016: https://whatson.bfi.org.uk/Online/default.asp?BOparam::WScontent::loadArticle::permalink=jeanlucgodard&BOparam::WScontent::loadArticle::context_id= The extensive screening programme will be accompanied by the following talks and events: WED 6 JAN 18.10 NFT1: Illustrated conversation about Godard between Laura Mulvey and Michael Witt TUE 12 JAN 20.20 BLUE ROOM: Philosophical Screens: LE MEPRIS (CONTEMPT, 1963) and Godard’s Philosophical Cinema, with Lucy Bolton, William Brown and John Mullarkey WED 13 JAN 18:00 NFT1: Introduction by Chris Darke to a screening of ALPHAVILLE (1965) WED 13 JAN 20.30 BFI REUBEN LIBRARY: Talk by Richard Martin on Godard as Architect SAT 16 JAN 15.10 NFT1: Screening of BANDE A PART (1964) + Q&A with Anna Karina SAT 16 JAN 17.50 NFT1: Introduction by Anna Karina to a screening of LE MEPRIS (CONTEMPT, 1963) SAT 16 JAN 20.40 NFT1: Screening of VIVRE SA VIE (MY LIFE TO LIVE, 1962) + Q&A with Anna Karina WED 10 FEB 18.20 NFT3: Talk by Nicole Brenez on Godard as Experimental Filmmaker WED 10 FEB 20.30 NFT3: Introduction by Nicole Brenez to a screening of NUMERO DEUX (NUMBER TWO, 1975) FRI 19 FEB 18.20 NFT2: Introduction by Michael Witt to a screening of SIX FOIS DEUX (SUR ET SOUS LA COMMUNICATION) (SIX TIMES TWO (ON AND UNDER COMMUNICATION, 1976)) MON 22 FEB 18.30 BFI REUBEN LIBRARY: Talk by Albertine Fox on Godard as Sound Artist MON 22 FEB 20.30 NFT3: Introduction by Albertine Fox to a screening of KING LEAR (1987) and MEETING WOODY ALLEN (1986) WED 24 FEB 20.20 NFT3: Introduction by Michael Witt to a screening of the compilation film SAUVE LA VIE (QUI PEUT) (1981) THU 25 FEB 20.30 NFT3: Introduction by Michael Temple to a programme of shorts showcasing how Godard has responded to commercial commissions (e.g. ON S’EST TOUS DEFILE (1987), PUISSANCE DE LA PAROLE (1988) and LE RAPPORT DARTY (1989)) SAT 27 FEB BIRKBECK INSTITUTE FOR THE MOVING IMAGE: Day of screenings of rare materials by or featuring Godard, including a programme of the trailers that Godard has made for his own films SUN 28 FEB 13.45 NFT2: Introduction by Michael Witt to a screening of FRANCE TOUR DETOUR DEUX ENFANTS (FRANCE TOUR DETOUR TWO CHILDREN, 1979) WED 2 MARCH 20.40 BFI REUBEN LIBRARY: Talk by Michael Witt on Godard as Cinema Historian MON 7 MARCH 20.30 BLUE ROOM: Philosophical Screens: Godard in 3D, with Lucy Bolton, William Brown and John Mullarkey TUE 8 MARCH 18.10 NFT3: Introduction by Colin MacCabe to a screening of two films by Godard and Anne-Marie Miéville that he co-produced: DEUX FOIS CINQUANTE ANS DE CINEMA FRANCAIS (TWO TIMES 50 YEARS OF FRENCH CINEMA, 1995) and THE OLD PLACE: SMALL NOTES REGARDING THE ARTS AT FALL OF THE TWENTIETH CENTURY (1998) MON 14 MARCH 18.30 BFI REUBEN LIBRARY: Talk by Michael Temple on Godard as Essayist In addition, Ginette Vincendeau and her colleagues from King’s College London are running a nine-week course entitled ‘Jean-Luc Godard: Film Language, Narrative, Politics’ from 14 January to 10 March, 18.30-20.30, in the Studio cinema at BFI Southbank It is possible that further events will be added to the March programme. Please keep an eye on the BFI website for updates. Best wishes, Michael Witt Michael Witt Professor of Cinema Co-Director, Centre for Research in Film and Audiovisual Cultures (CRFAC) Department of Media, Culture and Language University of Roehampton | London | SW15 5SL http://www.roehampton.ac.uk/staff/Michael-Witt/ Consider the environment. Please don't print this e-mail unless you really need to. This email and any attachments are confidential and intended solely for the addressee and may also be privileged or exempt from disclosure under applicable law. If you are not the addressee, or have received this e-mail in error, please notify the sender immediately, delete it from your system and do not copy, disclose or otherwise act upon any part of this email or its attachments. Internet communications are not guaranteed to be secure or virus-free. University of Roehampton does not accept responsibility for any loss arising from unauthorised access to, or interference with, any Internet communications by any third party, or from the transmission of any viruses. Any opinion or other information in this e-mail or its attachments that does not relate to the business of University of Roehampton is personal to the sender and is not given or endorsed by University of Roehampton. University of Roehampton is the trading name of Roehampton University, a company limited by guarantee incorporated in England under number 5161359. Registered Office: Grove House, Roehampton Lane, London SW15 5P
[Frameworks] Angular Vol. 01
Angular | Cine experimental y videocreación | Experimental Cinema and Artists' Video Newsletter | 18 de diciembre de 2015 | English version below Estimados amigos, Nos alegra poder anunciaros que el primer volumen de Angular está disponible a la venta, a través de nuestra página web, en edición limitada de 150 ejemplares. Contiene un DVD con 13 películas y un libro de 82 páginas en castellano e inglés con reseñas de los trabajos escogidos, y una entrevista a Marcos Ortega, director de Experimental Cinema. Esperamos que os guste. ¡Gracias! Dear friends, We are happy to announce that Angular's Volume 01 is available for sale on our website in a limited edition of 150 copies. The set consists of: a DVD with 13 films, and a 82-page book in both Spanish and English, which includes analytical texts by our contributors on the selected works, plus an interview with Marcos Ortega, director of the website Experimental Cinema. We hope you will like it! Thanks! Albert Alcoz y Alberto Cabrera Bernal Angular | Angular: Cine experimental y videocreación | | | | | | | | | | | Angular: Cine experimental y videocreaciónDedicada a la difusión del cine experimental y de la videocreación recientes, Angular es una editora española en DVD, autofinanciada e independiente, que funciona ... | | | | Ver en www.angularfilms.com | Vista previa por Yahoo | | | | | ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] 16mm prints turned pink
Dear Frameworkers, Thanks for all the interesting responses to this issue. There is such a wealth of knowledge here! Glad to know there are some digital restoration possibilities, though sounds like something that should be done sooner before further shifts happen. Aii, the tension between preserving the old and making the new. I wonder how Kodak color prints and negatives of today will behave? Were they improved after the 70's? Once converted into digital, we're into the ever-shifting technology stream that still seems to have no practical archival process that won't require constant updating. I think of the B/W paper prints in the Library of Congress that are still preserving films of the early 1900s. Illuminated manuscripts on vellum have held up pretty well for 600 years, if limited to beautiful blue, red, and gold. I wonder if the Technicolor process with three B/W separation negatives still exists in China, where Technicolor sold it? Or should we think of movies as an essentially ephemeral art, like dance, with a life span similar to our own? Cheers, Robert Withers WithersWorks.com On Dec 19, 2015, at 7:00 AM, frameworks-requ...@jonasmekasfilms.com wrote: > > > From: cbifi...@gmail.com > Subject: Re: [Frameworks] 16mm prints turned pink > Date: December 18, 2015 2:17:53 PM EST > To: Dominic Angerame , Experimental Film > Discussion List > > > I did a pretty good job of colour correcting a red print by shooting it with > a video camera set to auto colour balance. The shutter could be adjusted in > 10ths to eliminate flicker. It brought it right back to where it should be > colour-wise and was just slightly more muted than the original likely was. > > Sent from my BlackBerry 10 smartphone on the Rogers network. > From: Dominic Angerame > Sent: Friday, December 18, 2015 10:23 > To: Experimental Film Discussion List > Reply To: Experimental Film Discussion List > Subject: Re: [Frameworks] 16mm prints turned pink > > Alas all of this is true. A Canyon Cinema I found most of the color prints > made in the 70's had turned red. This even happens when the film is never > projected. When I worked at the Encyclopedia Britannica in the early 70's > most of their prints had turned red. I am inspecting the 16mm film collection > at the SF ARt Institute and am finding the same situation with some prints > made during the 70's and some 1980 print. > > > On Thu, Dec 17, 2015 at 8:13 PM, Jeff Kreines wrote: > Eastmancolor was very bad in terms of magenta fading. > > I’ve seem excellent work scanning faded prints and restoring the color (using > lots of nodes in Resolve) and doing filmouts (16mm 5K, or 35mm) by VFS, now > merged with Colorlab. > > The trick is to have at least a tiny bit of the missing colors present in the > scan, to give the software something that it can work with. > > > On Dec 17, 2015, at 9:46 PM, Scott Dorsey wrote: > > > > I don't remember whether it had to be slightly acid or slightly basic, and > > it was _just_ a thing with the Agfa/Ansco chemistry which is very different > > (and can be a lot more stable than) the modern Eastman chemistry. I think > > there is a discussion of it in Mees' book, though. > > --scott > > ___ > > FrameWorks mailing list > > FrameWorks@jonasmekasfilms.com > > https://mailman-mail5.webfaction.com/listinfo/frameworks > > Jeff Kreines > Kinetta > j...@kinetta.com > kinetta.com > ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] 16mm prints turned pink
Recent Kodak stocks do hold up much better, as do technocolor prints‎. In the 70's, 80's and 90's, especially during the explosion of the cineplex, cheaper prints were made to only last for the 6-8 weeks of a run. Sent from my BlackBerry 10 smartphone on the Rogers network.From: Robert WithersSent: Saturday, December 19, 2015 13:54To: frameworks@jonasmekasfilms.comReply To: Experimental Film Discussion ListSubject: Re: [Frameworks] 16mm prints turned pinkDear Frameworkers,Thanks for all the interesting responses to this issue. There is such a wealth of knowledge here!Glad to know there are some digital restoration possibilities, though sounds like something that should be done sooner before further shifts happen. Aii, the tension between preserving the old and making the new. I wonder how Kodak color prints and negatives of today will behave? Were they improved after the 70's?Once converted into digital, we're into the ever-shifting technology stream that still seems to have no practical archival process that won't require constant updating. I think of the B/W paper prints in the Library of Congress that are still preserving films of the early 1900s. Illuminated manuscripts on vellum have held up pretty well for 600 years, if limited to beautiful blue, red, and gold. I wonder if the Technicolor process with three B/W separation negatives still exists in China, where Technicolor sold it?Or should we think of movies as an essentially ephemeral art, like dance, with a life span similar to our own?Cheers,Robert WithersWithersWorks.com On Dec 19, 2015, at 7:00 AM, frameworks-requ...@jonasmekasfilms.com wrote:From: cbifi...@gmail.comSubject: Re: [Frameworks] 16mm prints turned pinkDate: December 18, 2015 2:17:53 PM ESTTo: Dominic Angerame, Experimental Film Discussion List I did a pretty good job of colour correcting a red print by shooting it with a video camera set to auto colour balance. The shutter could be adjusted in 10ths to eliminate flicker. It brought it right back to where it should be colour-wise and was just slightly more muted than the original likely was. Sent from my BlackBerry 10 smartphone on the Rogers network.From: Dominic AngerameSent: Friday, December 18, 2015 10:23To: Experimental Film Discussion ListReply To: Experimental Film Discussion ListSubject: Re: [Frameworks] 16mm prints turned pinkAlas all of this is true. A Canyon Cinema I found most of the color prints made in the 70's had turned red. This even happens when the film is never projected. When I worked at the Encyclopedia Britannica in the early 70's most of their prints had turned red. I am inspecting the 16mm film collection at the SF ARt Institute and am finding the same situation with some prints made during the 70's and some 1980 print.On Thu, Dec 17, 2015 at 8:13 PM, Jeff Kreines wrote:Eastmancolor was very bad in terms of magenta fading.I’ve seem excellent work scanning faded prints and restoring the color (using lots of nodes in Resolve) and doing filmouts (16mm 5K, or 35mm) by VFS, now merged with Colorlab.The trick is to have at least a tiny bit of the missing colors present in the scan, to give the software something that it can work with.> On Dec 17, 2015, at 9:46 PM, Scott Dorsey wrote:>> I don't remember whether it had to be slightly acid or slightly basic, and> it was _just_ a thing with the Agfa/Ansco chemistry which is very different> (and can be a lot more stable than) the modern Eastman chemistry. I think> there is a discussion of it in Mees' book, though.> --scott> ___> FrameWorks mailing list> FrameWorks@jonasmekasfilms.com> https://mailman-mail5.webfaction.com/listinfo/frameworksJeff KreinesKinettaj...@kinetta.comkinetta.com ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] 16mm prints turned pink
Eastman LPP color prints from 1983 forward have generally held good color, though I've seen a few go to vinegar (which I suspect often has much to do with poor processing).The cyan or blues typically fade first in the older Eastman stocks and in many cases the yellow, magenta, and overall contrast will hold up for many years longer. But I've also seen SP prints fade mostly to brown and Fuji prints fade mostly to purple. At least one 16mm print I have has faded almost entirely to yellow and is almost invisible on the screen unless projected through a violet filter.Some more general information is here:http://www.paulivester.com/films/filmstock/guide.htmEd-Original Message- From: Robert Withers I wonder how Kodak color prints and negatives of today will behave? Were they improved after the 70's? ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks