Re: [Frameworks] Eiki SL-0 belt - found at the Nuthouse on 29th st

[ev petrol]

for anyone who's looking - I scored a couple of spare belts at the Nuthouse, 
open 24 hours (worth calling ahead, so you can persuade them to go down to the 
basement and dig them out) 
http://nuthousehardware.com/

moiratierney.net vimeo.com/moiratierney


On Fri, 9/15/17, ev petrol  wrote:

 Subject: Re: [Frameworks] Eiki SL-0 belt
 To: "Experimental Film Discussion List" , 
"ShermanGeorge" 
 Cc: "epetr...@yahoo.com" 
 Date: Friday, September 15, 2017, 9:17 PM
 
 Thanks for the tips gents!
 
 moiratierney.net
 vimeo.com/moiratierney
 
 
 On Thu, 9/14/17, George, Sherman 
 wrote:
 
  Subject: Re: [Frameworks] Eiki SL-0
 belt
  To: "Experimental Film Discussion
 List" 
  Cc: "epetr...@yahoo.com"
 
  Date: Thursday, September 14, 2017,
 7:41 PM
  
  Check at:
  https://www.mcmaster.com/#o-rings/=19dwdm3
  McMaster-Carr is a truly great
 industrial
  hardware co.
  No minimum, they have it in
  stock and ship in 36 hours They do
 charge for shipping but
  so does everyone else.
  See the full line of
  products at
  www.mcmaster.com
  Sherman
  
  
  >
  On Sep 14, 2017, at 4:05 PM, Scott
 Dorsey 
  wrote:
  > 
  > I think
  that belt is just a big industrial
 O-ring.  A plumbing
  supply house
  > should have spares, I
  don't think you'll even need to go to
 PRB or
  someplace.
  > --scott
  >
 
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  sgeo...@ucsd.edu
  858-229-4368
  
  
  
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Re: [Frameworks] Editing negative

[Dave Tetzlaff]

The old school workflow of workprint/conform/let the lab do the rest was 
premised on making a number of release prints from the conformed original. I’m 
assuming Esperanza asked her question because she wants to project the work 
from photochemical film for some reason, not digitally. The question then is 
where and how it will be screened. It would be fairly rare these days for 
artist-film makers to just send out photochemical projection prints by 
themselves. More often, the maker may be touring with their own copy of the 
work, and not need more than one print at a time (until they wear out, if 
that’s a concern…). 

Esperanza didn’t mention how many cuts, or of what length, she anticaptes 
making from the original sequence on the neg. If there are lots of cuts, or 
some very short shots, I’d probably still go with editing workprint yourself 
(if you can borrow time on a flatbed or bench) then getting someone to conform 
the negative to A roll. But if there are only a few cuts, and none of the 
clips are too short, another ‘cheap and easy’ option would be to leave the 
negative intact, get a good quality positive print (the exiting workprint might 
do, depending on what stock was used, and whether or not any color/exposure 
timing is desired)workprint, and then cut that (carefully) as desired with tape 
splices. Then once a ‘final cut’ is reached, just make sure each splice is 
taped on both sides, clean aligned with the frameline and tight, and then you 
could project that. If it’s not going to be shown a lot, it wouldn’t be too 
much of a pain to do that again if the first print wears out, using the edge 
numbers as a guide. Of course, there’d be the usual bubbles etc. visiblebe on 
the screen at the edit points, but that may not be objectionable, depending on 
the work/audience.maker…

Just another option…

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Re: [Frameworks] Eyemo Magazine and motor

[Jon Behrens]

Thanks Scott!

Sent from my iPhone

> On Oct 23, 2017, at 6:49 AM, Scott Dorsey  wrote:
> 
> Calkovsky Camera in Hollywood has a bunch of Eyemo lenses selling at very
> good prices.  They may also have some other accessories.
> --scott
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Re: [Frameworks] Eyemo Magazine and motor

[Scott Dorsey]

Calkovsky Camera in Hollywood has a bunch of Eyemo lenses selling at very
good prices.  They may also have some other accessories.
--scott
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[Frameworks] Eyemo Magazine and motor

[Jon Behrens]

Hi Frameworkers
I just bought an Eyemo KF 2 and now I am looking for a motor and a 400ft and or 
a 1000ft magazine, let me know if you have any leeds 

cheers
Jon 
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Re: [Frameworks] Editing negative

[Esperanza Collado]

Yes, that could be a problem. I actually have a workprint, so I could
perfectly work that way and avoid altering/dusting the negative.

Cheers


2017-10-23 4:42 GMT+02:00 Fred Camper :

>
> On 10/22/2017 8:46 PM, Jeff Kreines wrote:
>
> We did “cull” our original (usually reversal, back in the day) before wo
> rkprinting, to save every last penny.
>
> As did big-budget Hollywood films -- that was the difference between the
> director ending a take with a call of “cut,“ or “cut print.“
>
> Cutting from workprint is a wonderful luxury. You can actually try out
> different things, and different shot lengths, without damaging the original.
>
> I agree about conforming and dust. Dust is a problem with reversal too,
> but when cutting negative it is much worse -- a black speck against a
> bright field is annoying, but it does remind one of the material nature of
> celluloid. A white speck against dark, which happens all too often with
> negative, what is that about? A lot more noticeable than a black speck, and
> actually a little too revealing of the process, if you ask me...
>
> Fred Camper
> Chicago
>
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>


-- 
Esperanza Collado
- - - - - - - - - - - - - -
www.esperanzacollado.org
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