[Frameworks] Pageant Flicker

[Madison Brookshire]

Hello all,

I have a 16mm Kodak Pageant, Model AV-126-TR. This is the variety that when
switch to silent speed while the projector is running produces a noticeable
flicker.

I have a performance called *Fountain* that is largely based on this
flicker and will be traveling to Europe with it.

I have a few questions:

1. What models of Pageants produce this effect? (I know that later year
models do not, but I do not know that cut off date or model numbers).
2. Does anyone know where such models can be begged, borrowed, or rented in
the UK, especially Scotland?
3. If I travel with my own projector, a) will I be able to plug it in? and
b) will the flicker be different when the projector is using UK current (50
Hz)?
4. Does anyone have any experience with or advice on flight cases for Kodak
Pageants?

Thank you very much,
Madison
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[Frameworks] TONIGHT screening of works by Rachelle Mozman Solano & Ezra Wube, Microscope Gallery Brooklyn

[LBurchill]

(Apologies for posting here, missed the listing deadline on this.)

Microscope kicks off its 2019 emerging artist series YES with a screening
of video works by artists Rachelle Mozman Solano and by Ezra Wube, two
artists currently based in Brooklyn and working with multiple artistic
mediums.

The program includes the three most recent video projects “Opaque Mirror”
(2017), “The Dying Cavendish” (2017), and “Loneliness Lonely” (2015) by
Mozman Solano and a selection of several short videos by Wube, from his
2008 “When we all met” to his latest “Pattern Synthesis” (2018).

Mozman Solano and Wube will be in attendance and available for Q
following the screening.

More info: www.microscopegallery.com

General admission $8
Members & Students $6

ADVANCE TICKETS: https://bit.ly/2T9HwgM

BECOME A MEMBER: https://bit.ly/1JHtSHW


_
Rachelle Mozman Solano grew up in New York City of parents who shared the
experience of immigration. She works between New York and Panama, the
country of her maternal family. Starting often from her biography and
family history, Mozman Solano explores how culture shapes individuals and
how environment conditions behavior. Her work is deeply informed by her
clinical work in psychoanalysis and is positioned at the intersection of
mythology, history, economics, and the psyche through the use of
photographs and films that confound fact and fictional narrative. Mozman
Solano’s work is currently featured in the solo exhibition Metamorphosis of
Failure at Smack Mellon, Brooklyn, NY, and was recently included in El
espejo opaco de Gauguin in Arteconsult, Panamá, Panamá, LARA (Latin
American Roaming Art), Panamá, Panamá, the X Bienal Centroaméricana,
Do/Tell at the Institute of Contemporary Art at the University of
Pennsylvania, and Portraiture Now: Staging the Self at Americas Society,
among others. Mozman Solano has been awarded residencies at LMCC workspace,
Smack Mellon, The Camera Club of New York, and Light Work. Mozman is a
Fulbright Fellow, and has exhibited among others at the National Portrait
Gallery at Smithsonian Institution, Washington DC; Americas Society, New
York; National Hispanic Cultural Center, Albuquerque, New Mexico; The
Studio Museum in Harlem, New York; Chelsea Museum, New York; DeCordova
Sculpture Park and Museum, Lincoln, MA; Museum of Latin American Art, Long
Beach, CA; Shore Institute of Contemporary Art, Long Branch, NJ; Festival
de la luz at the Centro Cultural Recoleta, Buenos Aires, Argentina;
Instituto Cultural Itau, São Paulo, Brazil; the Friese Museum, Berlin,
Germany; Museo Nacional de Bellas Artes, Santiago, Chile; Museo Nacional de
Artes Visuales, Montevideo, Uruguay; Centro Cultural de España, Mexico
City, Mexico; Festival Biarritz, Biarritz, France; as well as the IX Bienal
de Cuenca, Ecuador. Her work has been published in the Light Work annual
Contact Sheet, Presumed Innocence, Exit magazine and numerous other
publications.

Ezra Wube (b. 1980, Ethiopia) is a mixed media artist based in Brooklyn,
NY. His work references the notion of past and present, the constant
changing of place, and the dialogical tensions between “here”and “there”.
His exhibitions include Gwangju Biennial, Gwangju South Korea (2018),
Museum of the Moving Image, Queens, NY (2017); The 13th Biennial de Lyon,
Lyon, France (2015); Dak’Art 2014 Biennale, Dakar, Senegal (2014); The 18th
International Festival of Contemporary Art SESC_Videobrasil, São Paulo,
Brazil (2013); and At the Same Moment, Time Square Arts Midnight Moment,
New York, NY (2013). His residencies and awards include Open Sessions
Program, The Drawing Center, New York, NY (2016); Wave Hill, Winter
Workspace, Bronx, NY (2016); Rema Hort Mann Foundation; and the Triangle
Arts Association Residency, Brooklyn, NY (2015). Ezra received his BFA
(2004) from Massachusetts College of Art, Boston, MA and an MFA (2009) from
Hunter College, New York, NY.

Microscope Gallery
1329 Willoughby Ave, 2B (btw St. Nicholas & Wyckoff)
Brooklyn, NY 11237
tel: 347.925.1433
i...@microscopegallery.com
www.microscopegallery.com


Jefferson Street L (exit Starr St at front of train)
left on Willoughby, enter through glass doors mid-block

Re: [Frameworks] Exposure compensation

[Rob Gawthrop]

Hi Pablo

I’ve always used 1/80th for 24fps (and adjusted accordingly for other fps) for 
an Arri ST it’s 1/48


Rob

> On 28 Jan 2019, at 12:22, Pablo Marin  wrote:
> 
> Hi all,
> 
> I'm about to shoot some 16mm film (color neg 50D) with a Bolex SB and was 
> wondering if I could borrow some of the good ole frameworker's wisdom to 
> figure out the compensation on my exposure levels.
> 
> I'm using a Minolta Spotmeter M and according to its manual, the cine 
> exposure for 24fps has to be measured with a shutter speed setting of 1/60th 
> and then open 1/3 of a stop. But then, this lightmeter is built to calculate 
> the readings for a camera with a 180° shutter.
> 
> Since the Bolex has a shutter of 130°, which compensation should I add on top 
> of the +1/3 suggested by the lightmeter?
> 
> Thanks a lot for your help and sorry for the rather dumb question.
> 
> Best to all and rest in peace, Jonas,
> Pablo Marín.
> Bs.As.
> 
> 
> 
> 
> On Monday, January 28, 2019 6:35 AM, Kerstin Schroedinger 
>  wrote:
> 
> 
> 
> 
> 
> 
> *
> 
> Dear friends, collaborators and colleagues,
> 
> We are very pleased to announce the release of
> Film in the Present Tense – Why can't we stop talking about analogue film?
> 
> as part of 
> Diffraktion #9
> the annual screening highlighting new works by LaborBerlin members and 
> friends on Saturday, 2nd of February 2019,
> 19h30 @ ACUD mach NEU Studio, Veteranenstraße 21
> 
> 
> 
> 
> Film in the Present Tense – Why can't we stop talking about analogue film?
> Edited by L.Greenfield, D. S. Phillips, K.Schroedinger, B.Speidel and P. 
> Widmann
> Designed by Anne Retsch
> English
> Softcover
> 156 pages
> ISBN 978-3-943620-81-8
> published by Archive Books
> order 
> 
> 
> 
> “Why can’t we stop talking about analogue film?” is the collective, implicit 
> question connecting a variety of contributions from participants and guests 
> of Film in the Present Tense – International Symposium on Current 
> Developments in Analog Film Culture, held in Berlin from October 20 to 22, 
> 2017, and organized by LaborBerlin in collaboration with Filminstitut UdK 
> Berlin.
> 
> The book reflects a contemporary discussion around the use, value and purpose 
> of analogue film from a multiplicity of perspectives: artists, filmmakers, 
> scholars, archivists, curators, technicians and manufacturers. Film in the 
> Present Tense – Why can’t we stop talking about analogue film? intends to 
> provide a documentation of the collective momentum that characterized the 
> symposium and it responds to the persistent desire to keep talking about 
> analogue film.
> 
> With contributions by Nicola Baldini, Erika Balsom, Petra Belc, Christa 
> Blümlinger, Britt Al-Busultan, Anja Dornieden, Juan David Gonzáles Monroy, 
> Guy Edmonds, Scott Fitzpatrick, Tiago Ganhão, Sally Golding, Luisa 
> Greenfield, Philip Hoffman, Emmanuel Lefrant, Olga Moskatova, Aurélie 
> Percevault, Deborah S. Phillips, Martin Reinhart, Nicolas Rey, Julian Ross, 
> Katia Rossini, Kerstin Schroedinger, Guy Sherwin, Björn Speidel, Peter 
> Taylor, Esther Urlus, Stefanie Weberhofer, Philip Widmann, Zero Pixel, Ulrich 
> Ziemons.
> 
> 
> 
> 
> ___
> 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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[Frameworks] Exposure compensation

[Pablo Marin]

Hi all,
I'm about to shoot some 16mm film (color neg 50D) with a Bolex SB and was 
wondering if I could borrow some of the good ole frameworker's wisdom to figure 
out the compensation on my exposure levels.
I'm using a Minolta Spotmeter M and according to its manual, the cine exposure 
for 24fps has to be measured with a shutter speed setting of 1/60th and then 
open 1/3 of a stop. But then, this lightmeter is built to calculate the 
readings for a camera with a 180° shutter.
Since the Bolex has a shutter of 130°, which compensation should I add on top 
of the +1/3 suggested by the lightmeter?
Thanks a lot for your help and sorry for the rather dumb question.
Best to all and rest in peace, Jonas,Pablo Marín.Bs.As.

 

On Monday, January 28, 2019 6:35 AM, Kerstin Schroedinger 
 wrote:
 

 



*

Dear friends, collaborators and colleagues,

We are very pleased to announce the release of
Film in the Present Tense – Why can't we stop talking about analogue film?

as part of 
Diffraktion #9
the annual screening highlighting new works by LaborBerlin members and friends 
on Saturday, 2nd of February 2019,
19h30 @ ACUD mach NEU Studio, Veteranenstraße 21




Film in the Present Tense – Why can't we stop talking about analogue film?
Edited by L.Greenfield, D. S. Phillips, K.Schroedinger, B.Speidel and P. Widmann
Designed by Anne Retsch
English
Softcover
156 pages
ISBN 978-3-943620-81-8
published by Archive Books
order


“Why can’t we stop talking about analogue film?” is the collective, implicit 
question connecting a variety of contributions from participants and guests of 
Film in the Present Tense – International Symposium on Current Developments in 
Analog Film Culture, held in Berlin from October 20 to 22, 2017, and organized 
by LaborBerlin in collaboration with Filminstitut UdK Berlin.

The book reflects a contemporary discussion around the use, value and purpose 
of analogue film from a multiplicity of perspectives: artists, filmmakers, 
scholars, archivists, curators, technicians and manufacturers. Film in the 
Present Tense – Why can’t we stop talking about analogue film? intends to 
provide a documentation of the collective momentum that characterized the 
symposium and it responds to the persistent desire to keep talking about 
analogue film.

With contributions by Nicola Baldini, Erika Balsom, Petra Belc, Christa 
Blümlinger, Britt Al-Busultan, Anja Dornieden, Juan David Gonzáles Monroy, Guy 
Edmonds, Scott Fitzpatrick, Tiago Ganhão, Sally Golding, Luisa Greenfield, 
Philip Hoffman, Emmanuel Lefrant, Olga Moskatova, Aurélie Percevault, Deborah 
S. Phillips, Martin Reinhart, Nicolas Rey, Julian Ross, Katia Rossini, Kerstin 
Schroedinger, Guy Sherwin, Björn Speidel, Peter Taylor, Esther Urlus, Stefanie 
Weberhofer, Philip Widmann, Zero Pixel, Ulrich Ziemons.




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[Frameworks] Fwd: Book announcement

[Kerstin Schroedinger]

*

Dear friends, collaborators and colleagues,

We are very pleased to announce the release of
Film in the Present Tense – Why can't we stop talking about analogue film?

as part of 
Diffraktion #9
the annual screening highlighting new works by LaborBerlin members and friends 
on Saturday, 2nd of February 2019,
19h30 @ ACUD mach NEU Studio, Veteranenstraße 21




Film in the Present Tense – Why can't we stop talking about analogue film?
Edited by L.Greenfield, D. S. Phillips, K.Schroedinger, B.Speidel and P. Widmann
Designed by Anne Retsch
English
Softcover
156 pages
ISBN 978-3-943620-81-8
published by Archive Books
order 



“Why can’t we stop talking about analogue film?” is the collective, implicit 
question connecting a variety of contributions from participants and guests of 
Film in the Present Tense – International Symposium on Current Developments in 
Analog Film Culture, held in Berlin from October 20 to 22, 2017, and organized 
by LaborBerlin in collaboration with Filminstitut UdK Berlin.

The book reflects a contemporary discussion around the use, value and purpose 
of analogue film from a multiplicity of perspectives: artists, filmmakers, 
scholars, archivists, curators, technicians and manufacturers. Film in the 
Present Tense – Why can’t we stop talking about analogue film? intends to 
provide a documentation of the collective momentum that characterized the 
symposium and it responds to the persistent desire to keep talking about 
analogue film.

With contributions by Nicola Baldini, Erika Balsom, Petra Belc, Christa 
Blümlinger, Britt Al-Busultan, Anja Dornieden, Juan David Gonzáles Monroy, Guy 
Edmonds, Scott Fitzpatrick, Tiago Ganhão, Sally Golding, Luisa Greenfield, 
Philip Hoffman, Emmanuel Lefrant, Olga Moskatova, Aurélie Percevault, Deborah 
S. Phillips, Martin Reinhart, Nicolas Rey, Julian Ross, Katia Rossini, Kerstin 
Schroedinger, Guy Sherwin, Björn Speidel, Peter Taylor, Esther Urlus, Stefanie 
Weberhofer, Philip Widmann, Zero Pixel, Ulrich Ziemons.




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