[Frameworks] Spectres of Shortwave / Ombres des ondes courtes

[Amanda Christie]

also didn’t make it onto the list… I almost forgot to share here…


if anyone wants to see my completed film Spectres of Shortwave / Ombres des 
ondes courtes
2 hour film about RCI shortwave radio towers…. 
shot on 35mm, sound track built from contact mics on radio towers… 

It’s streaming online in HD for a limited time… only until March 4

on Labocine site dedicated to science films…
I think it’s $3 for a one month subscription.


If you’re interested in seeing it, it’s available here in HD for another 2 
days… https://www.labocine.com/film/2172 




Amanda Dawn Christie

www.amandadawnchristie.ca
ama...@amandadawnchristie.ca
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Re: [Frameworks] Painting directly to film

[Amanda Christie]

while Begone Dull Care is often credited to just Normal McLaren…. it was 
actually a collaborative work with Evelyn Lambart…

let’s not forget the ladies who worked on the films.






> On Dec 1, 2017, at 5:36 PM, Gene Youngblood  wrote:
> 
> It wasn’t expressionist, but McClaren’s “Begone Dull Care” (1949), set to 
> Oscar Peterson jazz, is a classic of the visual music genre, and deservedly 
> so. Interesting for someone who, as you point out, made mostly figure-based 
> work.
> 
> 
> On December 1, 2017 at 1:22:03 PM, Myron Ort (z...@sonic.net 
> ) wrote:
> 
>> Norman McLaren  to my knowledge made mostly very “figure” based  imagery 
>> (often cute). Len Lye  was more to my liking, however he still was making 
>> figurative based gestures dancing around to music. I was narrowing my 
>> question down to (extended) “abstract expressionist” film painting, rather 
>> than the more general area of camerless filmmaking overall. Man Ray also 
>> pioneered some techniques in this realm but I was referring more to 
>> “expressionist” style film painting that would later become  something Stan 
>> Brakhage explored extensively, however never without asserting that there 
>> was a correlative metaphoric quasi “narrative" involved. Later he would call 
>> it “moving visual thinking”.
>> 
>> 
>> 
>> 
>>> On Dec 1, 2017, at 12:07 PM, Kit Basquin >> > wrote:
>>> 
>>> Norman McLaren, who was from Scotland but worked for the Canadian Film 
>>> Board most of his life.
>>> 
>>> 
>>> -Original Message-
>>> From: Myron Ort mailto:z...@sonic.net>>
>>> To: Experimental Film Discussion List >> >
>>> Sent: Fri, Dec 1, 2017 3:05 pm
>>> Subject: [Frameworks] Painting directly to film
>>> 
>>> Can anyone site an example of “abstract expressionist” painting onto film 
>>> prior to 1968?  (Hopefully with online viewing availability).
>>> 
>>> 
>>> https://vimeo.com/220986135 
>>> 
>>> 
>>> Myron Ort
>>> www.zeno-okeanos,com 
>>> 
>>> 
>>> 
>>> 
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>> 
>> Myron Ort
>> www.zeno-okeanos,com
>> 
>> 
>> 
>> 
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Re: [Frameworks] Asking for a friend

[Amanda Christie]

I would like to offer another perspective, that no one has mentioned yet… about 
when it comes to naming names… 
and the idea that Evan mentioned about the voiceless gaining a voice… 

if a third party names names… are the voiceless actually gaining a voice if 
they are not the ones telling their own stories?  
or is someone else then telling their story for them, and thus stealing their 
voice again?


there is more complexity to this situation than just what to do with the art of 
an aggressor after an aggressor has been outed… 
there is also the question of how the outing of an aggressor then impacts the 
actual people who were hurt and whether or not they are the ones telling their 
own stories. 
I think that is the most important question in all of this.  
Consideration for the people who were hurt and making sure that they retain 
their own right to choose whether or not to tell their own stories.


naming aggressors should come from the people who have personally been hurt by 
them… (I don’t want to use the term “victim", or “survivor", because i find 
those terms put the person who lived the experience, into a labelled box where 
their whole identity becomes about the aggression they lived through, rather 
than all of the other things they accomplished in their life… but i can’t think 
of better terms right now, so i will reluctantly use those terms in this 
instance).  


So... let’s say someone does name people… what about the victims or survivors… 
do they have a say in that?  
if he outs them… then, no. they don’t.  and they become revictimized again.
Even if their own names are not mentioned as “victims” or “survivors"… seeing 
their aggressors named, may out them anyway… because this is a very small 
community.


and I think that it is problematic when we become so focussed on outing people, 
for the greater cause… that we forget about the impact it might have on the 
individual people who actually experienced the aggressions, that are then 
forced to relive traumatic experiences without having prepared themselves for 
it… or who then have to have their own art work or past films defined by those 
experiences rather than by the work itself.

in addition to potentially further victimizing those who were already hurt… i 
think that naming names risks becoming a simplistic distraction from actually 
discussing the issues and finding strategies for moving forward…. 


which brings me to the other issue, which i think is of critical importance in 
this particular context of esoteric experimental films made in the margins…


as Pip said… this is not the industry… there are no casting couches… but still… 
precisely because this is a small community, making esoteric non-commercial 
works… it makes it that much harder for people to come forward with stories… 
why?  because, our experimental films have such a small audience to begin with… 
and while there is some critical and academic writing about these films… it is 
still limited… so, if someone comes forward with a story about surviving an 
assault or an aggression while making a film… then later on, if their work ever 
gets written about… that aggression or assault becomes a part of the public 
narrative of their work… perhaps even tied to a particular film… basically, if 
someone shares about such an experience… they risk having the story of their 
assault hijack the public and historical narrative of their film, because then 
whenever people write about that film… they don’t just write about the film 
itself… they might write about the “obstacles” that were overcome when making 
the film… the “survivor” story… all of a sudden the film itself gets lost as it 
becomes a vehicle to advance the greater cause of sexual equality,which is a 
good cause… however... as such, the film itself (the one made by the victim or 
the survivor) risks getting lost or overshadowed in the process of telling the 
story of the aggression…. and the filmmaker is then reduced to either a victim 
or a survivor, instead of being treated simply as a filmmaker…  so then there 
is the dilemma… does a person share the story, for the greater good in order to 
promote progress and end rape culture, and therefore, in the process of so 
doing, risk having their artwork hijacked, because opening that narrative 
essentially gives back power to their aggressors, because the story of the 
aggression will then quite likely overshadow the film itself?… 

why do i say the story of the aggression may overshadow the story of the film 
itself?  precisely because our films are experimental and esoteric in nature… 
made for a small audience… meanwhile stories of sexual assault are (dare i say 
it) sexy and scandalous and people love juicy stories and gossip… 

these stories of assault have wider public appeal than experimental films… and 
so a filmmaker making small experimental films on the margins… who shares a 
story about assault that happened while making a film… risks the possibility 
th

Re: [Frameworks] Asking for a friend

[Amanda Christie]

interesting perspective pip…

sadly, sexual harassment and assault do not only result from the hierarchical 
power structures of industrial or commercial productions… 
nor are they limited to territoriality and competition…. 

sometimes, these things can happen precisely because we are working alone and 
in the margins... and in order to pursue our subjects we may place ourselves in 
dangerous or compromising situations without protection, because we might think 
that by working alone, outside of the industry, in the margins, that protection 
is not needed… not protection from superiors or crew members (because we are 
working independently and alone)… but protection from our subjects… that in 
itself creates a very complicated and difficult power dynamic… because then how 
does one finish or edit a film, when the footage itself bears the trace of an 
assault that becomes a trigger? and then how does one independently promote or 
disseminate such a film, or even attempt to work with a distributor when the 
mere discussion of the film is tangled with the effects of ptsd that breed 
fear, aggression, paranoia, and distrust of ones peers, friends, and others …. 
hypothetically speaking of course.

 just to say… that sadly… sexual assault and harassment can, and does sometimes 
happen to experimental filmmakers, in the process of making their films… 
working alone in the margins. 

adc



> On Nov 23, 2017, at 9:21 PM, Pip Chodorov  wrote:
> 
> Asking for a friend?  Hilarious subject line.
> 
> I think experiemental film's freedom comes from its marginality.
> In this business there is no money or power because these films are outside 
> the film industry and outside the art market. There is only passion, sharing, 
> and working in cooperative communities.
> 
> That is not to say that there is no competition or territoriality between 
> people or groups, we feel that maybe even stronger than in the film industry 
> or the art market. But there is certainly no sense of entitlement over others 
> due to one's position. There are no bosses, no job interviews, no big 
> opportunities, no moguls... Also the nature of these film works are 
> self-expression and thrashing out issues of difference and marginality and 
> self-identity so it is a very welcoming community in those terms.
> 
> Of course there are other kinds of negative energies that can crop up in our 
> communitiy besides sexual haassment, other, more "experimental" harassments 
> that could be interseting to discuss...
> 
> - Pip Chodorov
> 
> 
> 
> 
> At 21:06 + 23/11/17, Chuck Kleinhans wrote:
>> Given the proliferation of items in the news about sexual harassment in the 
>> film industry, and entertainment, and politics and academe, etc. why is this 
>> listserv so quiet on these issues?  Nothing to report?
>> 
>> Chuck Kleinhans
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Re: [Frameworks] Parallel Editing

[Amanda Christie]

thank you warren…

on both counts… 
of

A) steering things away from the DWG
..&..
B) pointing out how uselessly broad the initial question was.

please narrow it down kelsey… what are you really after?

adc



> On Nov 20, 2017, at 8:53 PM, Warren Cockerham  
> wrote:
> 
> The problem with Kelsey’s inquiry is it’s much too broad. There are literally 
> millions of narrative examples in film and television. Every popular tv show 
> is parallel edited.  Instead of listing millions of examples, is there 
> something more nuanced that you’re after here, Kelsey? 
> 
>> On Nov 20, 2017, at 8:45 PM, "o...@thenowcorporation.com" 
>>  wrote:
>> 
>> yes. and the Baptism scene in The Godfather.
>> 
>> owen
>> 
>> 
>>> On Nov 20, 2017, at 7:38 PM, Dominic Angerame  
>>> wrote:
>>> 
>>> look no further than DW Griffith who developed this fully.
>>> 
>>> On Mon, Nov 20, 2017 at 10:15 AM, Kelsey Velez  
>>> wrote:
>>> I'm looking for instances of parallel editing in narrative cinema, if you 
>>> please!
>>> 
>>> 
>>> Thanks,
>>> 
>>> Kelsey
>>> 
>>> 
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Re: [Frameworks] optical sound film screening

[Amanda Christie]

same here…

my first 16mm film from 2003… “Forever Hold Your Peace” has a lip-synced hand 
scratched optical sound track. 


http://www.cfmdc.org/node/2976 

http://www.amandadawnchristie.ca/forever-hold-your-peace/ 






> On Mar 4, 2017, at 12:55 PM, Beebe, Roger W.  wrote:
> 
> Well, I was hoping someone would save me the embarrassment of mentioning my 
> own film—Dave Tetzlaff, where are you when I need you???—but since no one 
> has, TB TX DANCE is an optical sound experiment made using an office laser 
> printer:
> 
> https://vimeo.com/34376555 
> 
> FYI,
> R.
> 
>> On Mar 2, 2017, at 8:27 AM, Peter Szely > > wrote:
>> 
>> hello all,
>> 
>> my name is peter szely from ima, institute for media archeology.
>> 
>> feel free to check out our website www.ima.or.at 
>>  I have a question:
>> 
>> ima always set itself a yearly topic in our work.
>> 
>> this years topic is optical sound.
>> 
>> we plan to have workshops and concerts dealing with optical sound, and we 
>> also plan to hav a film screening  of movies.
>> 
>> we are interested in movies where the sound comes from manipulations and 
>> treatments such as drawing or scratching directly on the celluloid,
>> 
>> do you have any recommendations of fine pieces of film working like this?
>> 
>> thanks in advance
>> 
>> best szely
>> 
>> Peter Szely
>> sz...@ima.or.at 
>> IMA / Institut für Medienarchäologie
>> Heinrich-Schneidmadl-Straße 15
>> 3100 St. Pölten
>> Tel: 0043 6991 9561906
>> 
>> 
>> 
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[Frameworks] looking for ElmoCL projectors in Toronto this week

[Amanda Christie]

Hello all,

I’m looking for two 16mm Elmo 16-CL slot load projectors in Toronto this week.

I’m presenting an expanded cinema performance as a part of the TransX 
Transmission Arts symposium organized by NAISA (New Adventures in Sound Art)… 
on Friday night… 

Rather than bring my projectors on the plane or ship them, I thought it would 
be best to source them on the ground in Toronto.. but it’s looking to be 
tougher than I expected… Cinecycle only has one… LIFT has none… CFMDC has a 
Kodak Ektagraphic, which is similar, but it’s finicky to load, and my 
performance involves a lot of fast loop changes… so I need something that isn’t 
finicky… 


Last attempt before I package my projectors up for shipping…. anyone in Toronto 
have one or two Elmo 16-CL slot load projectors that run smoothly?



Thanks so much!



Amanda Dawn Christie

506-871-2062
www.amandadawnchristie.ca
ama...@amandadawnchristie.ca
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Re: [Frameworks] chemical disposal with septic system

[Amanda Christie]

Hey Pip!

Onions as a fixer?  What's this?

(perked ears here)



On 2016-08-28, at 8:37 PM, Pip Chodorov wrote:

> Hi Amanda,
> How about onions?
> Pip
> 

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Re: [Frameworks] chemical disposal with septic system

[Amanda Christie]

Thanks for asking that Sarah!

I was just about to post the same question... I've just moved into my 
grandparents old house in rural New Brunswick, and am planning on converting 
the basement bathroom into a darkroom... 
It too runs on a septic system... 


I've worked with cafenol for developer and usually use vinegar for my stop.


My main question then is for fix and hypo-clear... 

Are there any recipes for eco-friendly fix or hypo-clear?...  although I 
supposed... the problem may not be so much the chemical itself, as the 
silver but any eco-friendly suggestions would be much appreciated!

I can't wait to check out the links already shared!


Amanda Dawn Christie

506-871-2062
www.amandadawnchristie.ca
ama...@amandadawnchristie.ca
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On 2016-08-28, at 2:50 PM, Scott Dorsey wrote:

> Kodak used to have a nifty little booklet on the subject.  Basically, if
> you are running B&W and you're using typical developers and nothing wierd
> the thing you have to worry about is silver-laden hypo, which you probably 
> should be getting silver recovery on anyway if you're doing any quantity.  
> The main worry is silver itself, which is not only a toxic heavy metal but 
> is also worth money and shouldn't be poured down the drain.
> 
> If you are running color processes, though, it gets complicated fast.  If
> you're running weird developers with accelerants like hydrazine 
> dihydrochloride
> or using chromium intensifier or mercury toners you have disposal issues.
> If you're running a reversal process you have to worry about the bleach which
> is also full of residual silver (even if you're not using the old ferricyanide
> chemistry).
> 
> But dumping D-76 and stop bath into the septic tank won't hurt anything if
> you dilute them sufficiently.
> 
> D-76 seems to encourage bacterial growth, in fact, which is no fun when you
> have to clean the tanks out...
> --scott
> 
> 
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[Frameworks] working with salt

[Amanda Christie]

hello all!

I'm curious about what sort of processes are out there for working with salt 
and film.

I have a residency on Prince Edward Island for the month of August, where I 
will be getting back to handmade film after a too-long hiatus... and since I 
will be surrounded by ocean... I'd like to work with salt and salt water from 
the ocean 

Any tips, tricks, techniques, or experiments that you'd like to share about 
working with salt would be much appreciated!

Thanks so much!

xoadc



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Re: [Frameworks] Rephotographing 16mm

[Amanda Christie]

I often enjoy running film that is too dense through a reducer which is a 
chemical that actually pulls out some of the excess silver.

Farmer's reducer was wonderful (two part powder packet) but they don't make 
it anymore... I used to have a lot of expired packets... I'm sure there is a 
recipe out there to make some.

It is very tricky though, and it's easy to go too far and loose your whole 
image... so be careful and go little by little it keeps reducing even after 
you take it out of the bath and put it into the water... so remove it just 
before you get to where you want to be this step you can do in the light, 
so you can watch it reducing, then take it out before it's done and put it in 
the water.

Don't do it your first time on footage that is precious though 
It's really easy to fuck up and either loose your whole image or have really 
inconsistent results.


adc


On 2016-07-12, at 7:26 AM, Morgan Hoyle-Combs wrote:

> Hello all, 
> 
> Not sure if my first message got through, but here it goes again:
> 
> One of my 16mm films came out a little too dense. It was a Double X roll 
> processed as a reversal but the end result was rather dark. There's still 
> images but they need to be blown out. Is there a way to rephotograph the roll 
> to give it more contrast? Could this be done via optical printer? 
> 
> Let me know whatever helps! 
> 
> -Morgan
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Re: [Frameworks] subtitle question

[Amanda Christie]

I've done a lot of googling. Came up with a lot of conflicting information, and 
that's why I threw it out to frameworks.
If your best response is "google it"... why bother responding?


Most of the recommended fonts are ones that I don't have in the Avid SubCaps 
editor.
For projection, most sites recommend sans serif fonts like Arial, Helvetica, 
and Verdana (hence my going with Verdana for the offline).
BBC and several other broadcasters recommend a specific subset of Helvetica 
that I don't have... I only have Helvetica Bold (which they advise against and 
looks awful) and Helvetica Narrow (which they also advise against and is 
unreadable) And recommended fonts for cinematic projection didn't include 
any that I have in my system.

But I'm not asking about font.  I'm asking about size and character count (and 
yes font affects that... so I tried to choose a font "close to" the size of 
recommended fonts)


The post-house that's doing my online and DCP will have access to more fonts 
for the final finish... but in the meantime while I'm laying it out, I'd like 
to have a visual idea of the general size.  This will help me in determining 
where I break the phrases and sentences in the text.  That's all I'm looking 
for... not for the final finish of the font.  Just the size.


I would like to know for sure how many characters per line.  


My translator translated as if for a printed document (and ignored a lot of the 
speech patterns), and so, things aren't lining up great with what's on 
screen... so I'm reworking a lot of his translated text so it jives better (I 
will now need to have it proofread a third time in case I made major 
grammatical errors in doing so!) but yeah, as I'm reworking the translation 
to lay it out on screen... I'd like to know what ballpark I should be aiming 
for in terms of character count and size.


Like I said... a few hours of googling revealed a lot of interesting articles, 
forums, threads, discussions, how-to guides written by amateurs for you-tube 
videos, delivery requirements for broadcasters, guides for subtitling DVDs and 
Blu-ray, more threads, forums, and articles... but also... mostly just a lot of 
conflicting information.


So if anyone on frameworks actually does subtitling and wants to weigh in with 
something more useful than "google it" that would be much appreciated.

thanks!





On 2016-05-12, at 5:41 PM, Dave Tetzlaff wrote:

>> I'm currently laying it out in 42 point Verdanna, keeping it under 40 
>> characters per line…
> 
> Standard printing and screen fonts, like Verdana, are not good for subs. The 
> strokes are too thin and the detail too fine to render well in video and 
> provide maximum readability. There are a number of specialized fonts, or 
> weights in large font families, used for subtitles. I can't recall any of the 
> specific names, but if you Google 'subtitle fonts' you can find some useful 
> discussions of the issues, and also recommendations.
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[Frameworks] subtitle question

[Amanda Christie]

Quick question.

So I'm starting on the subtitles for Spectres of Shortwave
(using SubCap in Avid on an effects layer)

Outputting to DCP cinemascope (not anamorphic) 2k
2048x858


I'm looking to find the ideal or standard (and I can deviate from that)... for 
subtitle font, size, and number of characters per line.

My google searches seem to reveal 40 characters (including spaces per line)
42 point font (ah!  the answer to life the universe and everything, how nice!)

I'm currently laying it out in 42 point Verdanna, keeping it under 40 
characters per line... but it looks like I could fit so many more characters 
and still be in the safe zone!



Any advice or suggestions in terms of font, size, and character count for 
subtitling 2k cinemascope?


Thanks!



Amanda Dawn Christie

506-871-2062
www.amandadawnchristie.ca
ama...@amandadawnchristie.ca
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[Frameworks] Spectres of Shortwave

[Amanda Christie]

Hey there fellow Frameworks friends!


as many of you know, I've been working on a long form (2 hour long) 
experimental documentary film about the Radio Canada International shortwave 
site... been working on it for the past 7 years.
7 years!

Shot on 35mm.  Much of the sound in the sound track was recorded by placing 
home-made contact mics on the radio towers themselves.
The site was torn down after I started filming, so I included that in the film 
too.  There are stories in the first hour and a half, and the last half hour, 
no one speaks while you watch the demolition happen to the sound of the contact 
microphone recordings of the towers.

Anyhow... I'm almost done!  The only thing that remains is translation and 
subtitles.  I originally didn't want to subtitle it... but in the end, decided 
to go that route.

Scheduled to finish and export to DCP at the end of May! (just a few weeks 
away!)

I launched a super short 7 day crowd funding blitz to cover the cost of 
translation and revision for the subtitles.
(2 hour film... 10,500 words to translate from English to French... not 
including the French to English that I'm translating myself)
So that's a big job.

If any of you feel so inclined to either contribute to the cost of translation 
for subtitles, or if you just want to check out the latest preview video (more 
narrative segments that give examples of the types of stories that will be 
translated)... just follow this link:  
https://www.indiegogo.com/projects/spectres-of-shortwave-last-steps/x/25000#/story


Have a great weekend everyone!



Amanda Dawn Christie

506-871-2062
www.amandadawnchristie.ca
ama...@amandadawnchristie.ca
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Re: [Frameworks] seamless media player recommendations?

[Amanda Christie]

> The WD TV Live also reads HFS+, though I'm not sure the display icons can be 
> turned off.

As stated earlier... they cannot be turned off without installing a firmware 
hack.

> 
> MPEG Streamclip is long dead, and won't run on recent versions of the Mac OS.

I'm still running MPEG stream clip seamlessly on OS X 10.10.3 (Yosemite).  I 
haven't tried it on El Capitaine, because I prefer not to uprade my OS until 
after they've worked all the bugs out of them... 
I'm currently running Avid Media Composer 8.5 which still does not run on El 
Capitaine either... so I won't upgrade until it's compatible.

Upgrading to the latest and greatest OS is overrated anyway.  There's always 
bugs when they're first launched... wait until the bugs and kinks have been 
worked out... then upgrade... 

so yeah... I'm having no problems at all with MPEG streamclip on my gear, and 
I'm only step behind the latest fancy pants OS.


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Re: [Frameworks] seamless media player recommendations?

[Amanda Christie]

! 

good tips on the Brighsigns!


and I forgot about Rasberri Pi... I actually bought one for myself after my 
last show, specifically for this reason, so I could use three Rasberry Pis next 
time (cheaper than media players, and smaller)... I just haven't gotten around 
to setting it up yet.

thanks for the reminder!  (I'm working on something else right now and 
multitasking, so it wasn't front of mind in this instance)




Amanda Dawn Christie

506-871-2062
www.amandadawnchristie.ca
ama...@amandadawnchristie.ca
___



On 2016-02-27, at 3:09 PM, André Lindahl wrote:

> Standard player for museums and galleries where I'm from is brightsign. They 
> can do it all. They never stop and starts directly when they get power. But 
> if you're only need loop and no sync or anything more advanced you could use 
> raspberry pi2s and save a lot of money. I use rpi2s for this all the time at 
> work and they have been running for at least 3 months straight without hick 
> ups. If power goes down they will start up again automatic. I use the looper 
> hack describes here: 
> 
> https://learn.adafruit.com/raspberry-pi-video-looper/overview
> 
> You will need some basic Linux skills or be able to follow instructions. 
> 
> I would choose this over a regular pc or Mac everyday. I have used a lot of 
> Mac minis in a museum environment and they always cause me a lot of trouble. 
> The same goes for any player aimed for the living room market. They're not 
> meant to be run for such periods of time and they always seem to show some 
> stupid info screen Wigren looping. 
> 
> Best
> André
> 
> On Sat, Feb 27, 2016, 19:18 Paul Harrill  wrote:
> 
> Hi all,
> 
> I’m looking for recommendations for media players capable of looping video 
> seamlessly for several hours in an installation/gallery environment.
> 
> I’ve been trying out this Micca Speck G2 player, but it has been freezing up 
> after 50 minutes or so:
> http://www.amazon.com/Micca-Full-HD-Portable-Digital-Player/dp/B008NO9RRM
> 
> I need it to be able to run as long as 10 hours, continuously. Does anyone 
> have any ideas? I’ll need three, so something affordable would be awesome.
> 
> Thanks,
> Paul
> 
> 
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Re: [Frameworks] seamless media player recommendations?

[Amanda Christie]

Hi Paul, 

that was exactly the same situation I found myself in last fall!

In the past, when i was looping only one video, i used a mac mini with VLC, 
because that was the easiest and smoothest.

But when I had a project with 3 separate looping videos, and i couldn't get 3 
mac minis... that's when i did all the media player research.

i wound up using 3 identical WDTV Live media players.
If you're editing on a mac, you gotta know that they won't take ProRes files, 
and they're not a fan of .mov files... they prefer h.264 mp4 files... they can 
run .mov files... but .mp4s run smoother.
You can use MPEG streamclip which is open source free software, to transcode 
your finished files into h.264 mp4 
then do your copy-pasting in Quicktime Pro instead of in your video editing 
software, because it will save a whole lot faster (no rendering).

I was able to use long files on those media players.  
I got the three WDTV  Live media players, along with three 32GB USB sticks, and 
made three 10 hour long video files.
Because all 3 media players were the same, when the gallery turned the show on 
and off in the morning, they only had to use one remote and it turned on all 
three (but that was a bit of a bitch if you were trying to trouble shoot one of 
them, because they were so close together that the remote would often affect 
more than the one i was working on... but once it was running, it was 
relatively smooth).


Hope that's helpful!


Amanda Dawn Christie

506-871-2062
www.amandadawnchristie.ca
ama...@amandadawnchristie.ca
___



On 2016-02-27, at 2:54 PM, Paul Harrill wrote:

> 
> Amanda,
> 
> Thanks for the info. I’ve been thinking about creating the 10hour video in 
> quicktime as a solution. 
> 
> How did you play your 10 hour video? On a mac? We’re going to need three 
> players, and I’m not sure I’ve got 3 macs (minis or laptops) that I could use 
> during the duration of the show.
> 
> Paul 
> 
> 
>> On Feb 27, 2016, at 1:27 PM, Amanda Christie  
>> wrote:
>> 
>> 
>> I went through a pretty big search for something similar last year, and it's 
>> harder than you would think.  most of them to have at least a black screen 
>> if not a reloading symbol between each loop.
>> 
>> here are the results from my search:
>> 
>> 1)  the Lacie LaCinema media player can do it, but it has been discontinued 
>> and is hard to find.
>> 
>> 2)  there is a woman in france who can write a hack for a firmware update 
>> that can remove the little orange circle "reloading" symbol from the WD live 
>> media players.   
>> I forget how much she charges for the hack, but I don't think it was much... 
>> 
>> 3)  a lot of people were using media players that were specifically designed 
>> for haunted houses in the US (go figure! who knew! apparently haunted houses 
>> are a big commercial industry there, and there are media players designed 
>> just for those that don't have the looping symbol)... sorry, I can't find 
>> any of my reference notes on makes or models though... :-(
>> 
>> 4) finally, the easiest solution, that I went with... was I just put my 
>> media into Quicktime Pro... and copy paste copy pasted loop after loop to 
>> make a 10 hour long video file.  so it only had to play once in the gallery 
>> anyway.
>> 
>> 
>> hope some of that is helpful, and if you find something, do let us know!
>> 
>> adc
>> 
>> 
>> 
>> On 2016-02-27, at 2:18 PM, Paul Harrill wrote:
>> 
>>> 
>>> Hi all,
>>> 
>>> I’m looking for recommendations for media players capable of looping video 
>>> seamlessly for several hours in an installation/gallery environment.
>>> 
>>> I’ve been trying out this Micca Speck G2 player, but it has been freezing 
>>> up after 50 minutes or so:
>>> http://www.amazon.com/Micca-Full-HD-Portable-Digital-Player/dp/B008NO9RRM
>>> 
>>> I need it to be able to run as long as 10 hours, continuously. Does anyone 
>>> have any ideas? I’ll need three, so something affordable would be awesome. 
>>> 
>>> Thanks,
>>> Paul
>>> 
>>> 
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>> 
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Re: [Frameworks] seamless media player recommendations?

[Amanda Christie]

I went through a pretty big search for something similar last year, and it's 
harder than you would think.  most of them to have at least a black screen if 
not a reloading symbol between each loop.

here are the results from my search:

1)  the Lacie LaCinema media player can do it, but it has been discontinued and 
is hard to find.

2)  there is a woman in france who can write a hack for a firmware update that 
can remove the little orange circle "reloading" symbol from the WD live media 
players.   
I forget how much she charges for the hack, but I don't think it was much... 

3)  a lot of people were using media players that were specifically designed 
for haunted houses in the US (go figure! who knew! apparently haunted houses 
are a big commercial industry there, and there are media players designed just 
for those that don't have the looping symbol)... sorry, I can't find any of my 
reference notes on makes or models though... :-(

4) finally, the easiest solution, that I went with... was I just put my media 
into Quicktime Pro... and copy paste copy pasted loop after loop to make a 10 
hour long video file.  so it only had to play once in the gallery anyway.


hope some of that is helpful, and if you find something, do let us know!

adc



On 2016-02-27, at 2:18 PM, Paul Harrill wrote:

> 
> Hi all,
> 
> I’m looking for recommendations for media players capable of looping video 
> seamlessly for several hours in an installation/gallery environment.
> 
> I’ve been trying out this Micca Speck G2 player, but it has been freezing up 
> after 50 minutes or so:
> http://www.amazon.com/Micca-Full-HD-Portable-Digital-Player/dp/B008NO9RRM
> 
> I need it to be able to run as long as 10 hours, continuously. Does anyone 
> have any ideas? I’ll need three, so something affordable would be awesome. 
> 
> Thanks,
> Paul
> 
> 
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Re: [Frameworks] Shower scenes...

[Amanda Christie]

your radio collage actually makes me think of an unfinished shower film that i 
have.

back in 2006, when i shot 3part harmony: composition in RGB #1... we had film 
stock left over, and sync sound gear (Arri SR2 and a DAT), and a lot of 
powerful lights and we were in a warehouse with a chemical safety shower in 
front of big windows overlooking the Vancouver skyline so I got into the 
shower with all my clothes on and sang a song while staring down the camera 
the image is framed wide with the vancouver skyline out the window, and my full 
body standing under the shower i think i started singing the song before 
pulling the lever to start the water.  it's about 1 or 2 minutes long.

it's tentatively called "shower song".

the film image is black and white 16mm negative I never decided whether to 
go BW positive print, or to introduce some colour through optical or contact 
printing might be best to keep it simple and stay black and white though.

the audio of the singing in the shower is on DAT, but I also transferred it to 
16mm mag... .

in theory, i could easily just slap on a title and a countdown to the negative, 
and sync it with the 16mm mag stock and send it out for a print and call it 
finished.
I could finish it up in an hour. In theory...

but i haven't done that yet... i think it always felt too vulnerable and 
raw  thanks for the reminder though!  i keep forgetting about that 
unfinished shower film.

seems a little silly to finish it now... although, i guess it's 2016... exactly 
10 years after i shot it... 
maybe now is the perfect time to put it together after all



On 2016-01-04, at 2:28 PM, Jesse Malmed wrote:

> The scholars of 2020 can decide whether or not a radio piece is a movie, but 
> a few months ago I made this hourlong collage of shower singing by a number 
> of game friends, many of whom are artists and filmmakers. Plus, it was 
> prompted by and made in conjunction with the excellent DINCA VISION QUEST 
> moving image festival. I think it turned out nicely:
> 
> http://jessemalmed.net/index.php/curatorial/shower-songs/
> 
> (another of these slow-burns is on the back-burner if anyone receiving this 
> sings in the shower and has even the slightest interest or the most 
> rudimentary recorder [the thing you're reading this on is most likely enough])
> 
> On Mon, Jan 4, 2016 at 12:05 PM, wenhua shi  wrote:
> Shower (by Zhang Yang) 
> 
> On Sat, Jan 2, 2016 at 6:01 AM, graeme hogg  wrote:
> 
> 
> 
> Someone has mentioned Alcatraz but almost any prison film will have a shower 
> scene as long as communal shower scenes are allowed.
> 
> Scum 1977, A prophet 2009, etc
> 
> 
> 
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> 
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> 
> 
> 
> -- 
> // // // J E S S E  M A L M E D 
> 505.690.7899 // jesse.mal...@gmail.com // live to tape
> jessemalmed.net // deep leap // nightingale // trunk show // 
> projective verse // bad at sports // acre_tv // western pole
> Trunk Show in Newcity / JM on WDCB / Live to Tape in the Reader / Trunk Show 
> in the Chicago Reader / JM in the Reader / Gapers Block / South Side Weekly / 
> Chicago Tribune Best of 2015
> 
> 12/5-18 — Test Patterns at Flux Factory (NYC)
> 12/19 — Scott Wolniak for Trunk Show Closing (CHI)
> 12/19 — Alex Bradley Cohen for Trunk Show (CHI)
> 
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Re: [Frameworks] Noteworthy Publications This Year?

[Amanda Christie]

also from 2014: 

the Galerie Louise-et-Reuben Cohen published a bilingual catalogue about my 
work with full colour photos as well as essays by Scott Birdwise, Mireille 
Bourgeois, and Pip Chodorov.

the catalogue accompanied an exhibition that surveyed 10 years of my work and 
it was curated by Mireille Bourgeois.
It's called:

Land Lost

I'm not sure how many copies the gallery has left, but I have a box here in my 
studio, and for $15 I could send one to anyone who might be interested.
just send me a note off list.


Amanda Dawn Christie

506-871-2062
www.amandadawnchristie.ca
ama...@amandadawnchristie.ca
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[Frameworks] Feedback on film in progress - Spectres of Shortwave

[Amanda Christie]

Hello all,

I missed the deadline for "this week in avant garde cinema" but if you're 
in the New York area this week, I'm showing a work in progress version of 
"Spectres of Shortwave" a 90 minute experimental landscape film about the RCI 
shortwave radio towers, at Brooklyn Fire Proof, this Thursday, Nov. 19 at 7:30 
pm as a part of my residency at Millennium Film Workshop.

If you're around and available I would love the feedback!  Screening the film 
at 7:30pm, followed by Q & A and feedback session.

Thursday, Nov. 19, 7:30pm
Temporary Storage Gallery, Brooklyn Fire Proof
119 Ingraham Street (Ground Floor)

Here's a link to a 5 min. preview trailer of the film and more info about the 
film: http://www.amandadawnchristie.ca/new-page-1/

Here's the link to the MFW mailout info: 
http://us5.campaign-archive2.com/?u=126cc2ed910664cb82b20c193&id=5bf9b381a1&e=abee01711e
And the link to the Facebook event: 
https://www.facebook.com/events/933095863440030/


I'll be in Brooklyn until the end of November, and if any of you frameworkers 
are up for a coffee or a drink before the end of the month, hit me up... it 
would be great to meet some of you in person because it's always nice to put 
faces to names!


festival fall y'all,


Amanda Dawn Christie

506-871-2062
www.amandadawnchristie.ca
ama...@amandadawnchristie.ca
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Re: [Frameworks] Millennium Film Workshop - past, present, and future

[Amanda Christie]

Do you telephone?  Or shall I get some tin cans and a piece of string?



On 2015-11-04, at 1:56 PM, Francisco Torres wrote:

> cool, but  i do not skype :(
> 

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Re: [Frameworks] Millennium Film Workshop - past, present, and future

[Amanda Christie]

Thanks so much to everyone who has replied to me off list already!   
I look forward to meeting you all.

I haven't sent individual replies to schedule meetings as I'm currently 
focusing on the logistics for my screening at Spectacle tomorrow night
(7:30 pm, Spectacle Theatre in Brooklyn... if you're around, you should go!)

But after that... from Thursday onward, I will start replying to you all and 
setting up times to meet up or chat about MFW!

 and Francisco... I'll make you a deal 
you were one of the ones who proposed that perhaps MFW should close up shop... 
but it sounds like you are no longer here in the city... so I will do a trade 
with you... 
I'll give you the password and the link to see the full length rough cut of the 
film, if you'll agree to chat with me about MFW via skype or phone. ;-)
how's that sound?


On 2015-11-02, at 11:08 PM, Francisco Torres wrote:

> spectres of shortwave- now that is a film I wish I could watch... A
> lot of my work deals with sw...
> 

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Re: [Frameworks] Angénieux lens for sale

[Amanda Christie]

Hi Chris,

sorry about that, I realized after I sent the email... I replied to quickly 
while multi-tasking... I also meant to send that to you off list and not to the 
whole group... ah well!





On 2015-11-03, at 7:07 PM, Chris G wrote:

> Hi Amanda,
> 
> It's for 16mm, so it'd most likely interfere with the mirror on your BL 4 and 
> not afford you enough coverage. 
> 
> Thanks,
> Chris
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Re: [Frameworks] Angénieux lens for sale

[Amanda Christie]

Hi Chris,

are these for 16mm or 35mm cameras?

I have an Arri BL 4 that takes PL mount lenses... and I have none... I'm in 
Brooklyn right now... and in the market for lenses...



Amanda Dawn Christie

506-871-2062
www.amandadawnchristie.ca
ama...@amandadawnchristie.ca
___



On 2015-11-03, at 3:37 PM, Chris G wrote:

> Hi Frameworkers,
> 
> I have an Angénieux 10x12B 16mm standard mount Arri lens for sale. This is 
> the 12-120mm f/2.2 zoom. It comes with front and rear caps along with a 
> Tiffen Photar series Nr. 9 +4 close-up filter. Cosmetically okay, functions 
> well. It was just serviced in July. Adapters can be found for less than $100 
> to go to C-mount, PL, Micro Four-Thirds, etc... It's located in Brooklyn and 
> could be shipped via flat rate within the US. $300. If you're interested 
> please contact me off-list. 
> 
> Thanks,
> Chris
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[Frameworks] Millennium Film Workshop - past, present, and future

[Amanda Christie]

Hello fellow Frameworkers!

so, as many of you probably saw, there were a few heated threads about the 
state of MFW flying around.

I sat back and read those threads quietly without commenting, and I will admit, 
they kind of scared the shit out of me and made me quite nervous, knowing that 
I was about to be walking into a certain unknown.  

You see, last spring, I received an invitation to screen my films at MFW.  The 
arts board in NB, where I'm from, has a residency funding program for any 
residency of at least 30 days, and so MFW also invited me to come for a 30 day 
residency.  I used that letter of invitation from MFW to apply for funding to 
cover my cost of living for one month in Brooklyn (apartment, studio, food, 
transportation, etc).  I knew that MFW was on a tight budget (from having seen 
their "Take a Turn for Millennium" campaign), so this seemed like this was a 
win-win situation... The invitation they gave me, enabled me to get funding to 
spend a month in NYC, and the funding I got, enabled them to have me as an 
artist in residence at no cost to them... win-win for both of us! 

However, after all of this was in place... that was when a lot of the intensely 
heated email threads about MFW on Frameworks started flying around... and I sat 
back reading them... wondering... what am I walking into?  

I contacted MFW and was told that yes indeed, they had lost their space, 
equipment was in storage, new bylaws were being drawn, a board election was 
coming soon, and the director was stepping down but the history of artist 
run centres and cooperatives is always filled with tales of crisis and 
transition like this (it's more a question of "when" rather than "if") ... who 
knows how this will all turn out... so here I am, at MFW for the month,  and I 
want to make the best of this for myself, but I also want to contribute 
something to them during this transitional phase, and that's why I'm sharing 
this with you all.

Transition happens.  

Artist run centres and co-ops are like human bodies... organizations are like 
organisms.  As they age, sometimes there are illnesses, and injuries... 
sometimes they die... sometimes they go through a crisis, and pull through and 
survive.  I think that MFW is definitely in a crisis point right now.  Will it 
die, or will it survive?  I don't know.  It could go either way.  Certainly 
some people from the Frameworks listserv are ready to put nails in the coffin.  
I would like to check it's vital signs first.  

So, as a part of my residency while I am here... (I arrived a few days ago)... 
I will be working on my own films and screening some of my work... but I will 
also be performing a "listening tour" (consulting and 
arts-administration-as-relational-aesthetic-performance-art if you will) 

For my listening tour... I would like to meet with as many people from the NYC 
experimental film community as possible... members and non-members of 
Millennium... supporters and dissenters alike filmmakers and 
organizations... I want to sit down, face to face... and listen to stories 
about the past of MFW and it's present.  I want to research the NYC film 
ecology... where is there collaboration?  where is there tension?  where is 
there redundancy?  what are the needs of the community?  I will take this 
feedback, and synthesize it consolidate it into two things:  1)  a formal 
report on the current state of MFW with a list of recommendations and a 
strategic plan for moving forward into the new millennium... 2) a Millennium 
Film Notebook: an artbook or zine filled with the notes, maps, timelines, 
lists, diagrams, and charts that I make during this trip and my meetings.

So yes.. I've landed in a  very strange situation, but I am hopeful and 
optimistic.  

I know some of you have very strong opinions... if you are in NYC and willing 
to sit down with me face to face... let me know.  I would like to listen to all 
you have to say about MFW.
I have an end date... I leave the city on Nov. 29... but between now and 
then... let me know if you would like to meet up.
Here is more formal info on my residency and events at MFW: 
http://us5.campaign-archive1.com/?u=126cc2ed910664cb82b20c193&id=46e8a8d9c9&e=abee01711e

also, as a part of the residency, I'm screening my super 8, 16mm, and expanded 
cinema performances at Spectacle Theatre this Wednesday Nov. 4... and I'm also 
screening a work in progress version of Spectres of Shortwave at Brooklyn Fire 
Proof on Nov. 19.

Let me know if any of you want to meet up while I am in town... (even if you 
don't want to talk about MFW... it would still be great to just meet some 
fellow filmmakers while I'm in the city).


Times of transition are sometimes the most exciting times... 
the possibility of failure and demise... 
but also so many other possibilities of transformation, growth, renewal, and 
new directions... 
the possibilities are endless.



Amanda Dawn Christie
---

[Frameworks] studio space available in Brooklyn!

[Amanda Christie]

Hey folks!

quick note about some studio space available in Williamsburg... if you're 
interested, you'd be sharing with me in November, then with Brendan Fernandez 
from December - June.

I'm subletting his half from him while he's out of town in November... then he 
comes back November 29 and I go back to Canada... 
meanwhile, from Nov.1 - onward, his studio mate has left and he's looking for 
someone to take over their space from November 1 - June 31 

So, if you're looking for studio space in Brooklyn, ideal for video or 2D 
work... this spot in Williamsburg is available staring November 1.

Heres the info:

---
Amazing shared studio space in Williamsburg available November 1st 2015 - June 
31st 2016 - $450 per month. 

The studio is newly renovated with hardwood floors and brand new windows. The 
space you will share is approximately 150 sf. and perfect for someone who works 
in video or in a 2-D practice or a writer. The studio is furnished with two 
desks and a chair. Great fellow artists and a beautiful view of Mc Carren Park. 
The building has 24 hour access with a freight elevator. It is located at 87 
Richardson near the Loirmer stop off the L. Rent is $450 per month including 
heat and high speed Internet.

If you are interested please contact bren...@brendanfernandes.ca
-




Amanda Dawn Christie

506-871-2062
www.amandadawnchristie.ca
ama...@amandadawnchristie.ca
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Re: [Frameworks] Double 8mm

[Amanda Christie]

or you could always just process it yourself.  

:-)



Amanda Dawn Christie

506-871-2062
www.amandadawnchristie.ca
ama...@amandadawnchristie.ca
___



On 2015-10-19, at 3:01 PM, cbifi...@gmail.com wrote:

> Film rescue international will.
> 
> Sent from my BlackBerry 10 smartphone on the Rogers network.
> From: Jesse Lerner
> Sent: Monday, October 19, 2015 16:00
> To: Experimental Film Discussion List
> Reply To: Experimental Film Discussion List
> Subject: Re: [Frameworks] Double 8mm
> 
> Try Spectra in North Hollywood, CA:
> 
> http://www.spectrafilmandvideo.com/Lab.html
> 
> 
> On Mon, Oct 19, 2015 at 11:29 AM, Jonathan Walley  wrote:
> Hello fellow Frameworkers,
> 
> I know that questions like this come up from time to time on this list, but 
> I’ve searched around on the archive and can’t find anything exactly on point, 
> so…
> 
> I have four 25-foot rolls of CINE-X B&W reversal double-8mm film and I want 
> to shoot them. Who still processes this stuff? It’s not clear from Dwayne’s 
> website if they do. Suggestions? If anyone out there in frameworks land wants 
> to hand/DIY process these for me at a reasonable price, contact me!
> 
> Thanks in advance and all best,
> Jonathan “bored film studies prof. who wants to make a movie (sort of)” Walley
> 
> 
> Dr. Jonathan Walley
> Associate Professor and Chair
> Department of Cinema
> Denison University
> wall...@denison.edu
> 
> 
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> 
> 
> 
> -- 
> Jesse Lerner
> 593 Glendale Blvd.
> Los Angeles, CA  90026  USA
> tel./fax: (213) 413-1333
> www.americanegypt.net
> 
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Re: [Frameworks] monitor or projector in Brooklyn in November ?

[Amanda Christie]

Hi Dan,

that's fantastic!  It's almost identical to the monitor I left back home.

I will be working out of a studio in Williamsburg, near Greenpoint, on 
Richardson street, near the L and G line... from November 6 - 29.

I hope to arrive in Brooklyn earlier though (sometime around oct 28)... but I 
still have not sorted out those logistics... but for sure I will be there from 
November 6-29.

Very much looking forward to meeting you and many others in the NY community!

'till soon,


Amanda Dawn Christie

506-871-2062
www.amandadawnchristie.ca
ama...@amandadawnchristie.ca
___



On 2015-10-06, at 11:46 AM, Dan Baker wrote:

> Hi Amanda
> 
> I have a monitor you could borrow, here's a link:
> http://www.cnet.com/products/dell-ultrasharp-2407wfp/specs/
> 
> It's a little old, but will get the job done as long as you're not doing 
> critical color correction.  
> 
> I have a projector as well, and you could probably borrow it for shorter 
> periods if it's not being used.
> 
> Let me know... 
> 
> How long will you be in Brooklyn, and where are you working out of?
> 
> Best,
> Dan
> 
> 
> On Thu, Oct 1, 2015 at 5:22 PM, Amanda Christie 
>  wrote:
> Hey folks!
> 
> I'm going to be spending November in Brooklyn  editing a film, and I am 
> bringing my own gear, and I have a studio lined up to work in... but... I 
> don't have room in my car for my monitor  ( it was all shot on 35mm, but 
> I'm editing digitally)
> 
> Does anyone know if it would be possible to borrow or cheaply rent a monitor 
> (or projector) in Brooklyn for the month of November so I can see what I'm 
> doing?
> It would be so much easier if I didn't have to pack mine!
> 
> I'll be editing using headphones too... so if anyone has speakers I could 
> borrow, that would also be awesome... but not as vital as a monitor for me to 
> see what I'm working on.
> 
> 
> 
> Also... while I'm there... I would love to have a little viewing / feedback 
> session if anyone is interested in seeing a rough cut and discussing.  I've 
> been feeling rather isolated and like I'm working in a silo on this one for 
> the last few years... feedback from peers would be great.  I've been working 
> on this film for 6 years... it's my first feature length experimental doc 
> Spectres of Shortwave... about radio towers...   there's an older 5 minute 
> preview of it on my website that I made when I just started filming 
> http://www.amandadawnchristie.ca/new-page-1/  I'm hoping to finally finish 
> the whole thing while I'm in Brooklyn.
> 
> Anyhow... let me know if it's possible to find a monitor in Brooklyn, and 
> also if anyone is interested in a little viewing/feedback session while I'm 
> there.
> 
> Looking forward to meeting some new folks and talking film!
> 
> 
> Amanda Dawn Christie
> 
> 506-871-2062
> www.amandadawnchristie.ca
> ama...@amandadawnchristie.ca
> ___
> 
> 
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> 
> 
> -- 
> Daniel Baker
> dnbkr.com
> crysalys.net
> 
> email: daniel.c.ba...@gmail.com
> Cell: 415-420-8553
> New York, NY
> 
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[Frameworks] VSW tomorrow night

[Amanda Christie]

Apologies for cross posting if this already made it to the listings 


but tomorrow night (Saturday, October 3), my films are screening at VSW at 8pm 
in Rochester.

Yes... I made it across the border today with all my gear!  So game on!




Tomorrow night's screening is: Dividing Roadmaps by Timezones: 10 years of 
moving pictures - 1999-2009

it includes super 8 films, 16mm films, super 8 performance, and ends with a 
16mm dual projector expanded cinema performance.
In costume!


Come check it out if you're in the area!  


Amanda Dawn Christie

506-871-2062
www.amandadawnchristie.ca
ama...@amandadawnchristie.ca
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Re: [Frameworks] Millennium Film Workshop

[Amanda Christie]

I for one appreciated the poetic touch... 


I believe in the flowers that germinate and bloom from dark places. 
There is never just one.  
Dark soil is fertile ground.  
The crocus never blooms unless it has been frozen in the winter and kept in the 
dark underground and hidden from light... 

crocuses bloom every spring... 
it's not the same flowers, but it is the same soil.   
I believe in the flowers that geminate and bloom from dark places. 







On 2015-10-02, at 9:16 PM, David Baker wrote:

> Your the boss Elizabeth.
> No poetry intended just the flawed way I write.
> Thanks for you help,
> lesson learned.
> 
> One thing though, please be certain I need no good will from you
> nor was I trying to garner any from anyone else.
> I just was trying to find a form that fit.
> You win some you lose some.
> 
> DB
> 
> 
> 
> 
> On Oct 2, 2015, at 7:42 PM, Elizabeth McMahon wrote:
> 
>> You had already said more than plenty. 
>> 
>> Your cryptic "poem" is such a distraction for a general listserv. Send stuff 
>> like this to the intended party and leave the public out of it. It is just 
>> embarrassing, and garners you no good will.
>> 
>> Elizabeth McMahon
>> 
>> On Fri, Oct 2, 2015 at 7:26 PM, David Baker  wrote:
>> Jay,
>> 
>> Rare flowers that germinated in the dark 
>> in that moldy old  place
>> will not come again.
>> We will never be as free to play with all the potentialities 
>> of projected light as we were there then.
>> Still it must go on.
>> 
>> "Darkness  cannot drive out darkness,
>> only light can do that."
>> 
>> -Martin Luther KIng Jr.
>> 
>> I will say no more on the subject.
>> 
>> David
>> 
>> 
>> On Oct 2, 2015, at 11:54 AM, Jay Hudson wrote:
>> 
>>> To Sasha,
>>> 
>>> Your words are inappropriate, offensive, and abusive.  I will not tolerate 
>>> it, and I demand that it stop.  If this type of conduct is against 
>>> framework's terms of use, I ask Pip to remove Sasha from the list if this 
>>> continues.  I have moved on and hold animosity towards no one.  There was 
>>> no justification to bring me into it.
>>> 
>>> To David,
>>> 
>>> I think it is better to lower the tone on this because I think you are 
>>> speaking from the heart and with good intentions.  It is better if you 
>>> consider that the situation with the Millennium followed a very common and 
>>> recognizable patterns in non-profits.  I made my decisions based on 
>>> extensive research and speaking with non-profit experts, attorneys, and 
>>> other professionals.  Every person that I spoke with was extremely direct 
>>> and unambiguous in saying that there was a serious problem that had to be 
>>> addressed immediately.  A few even said that there was no point in trying 
>>> to correct it.  I did what I thought was best and responsible.
>>> 
>>> Those of use working at MFW inherited a situation where the organization 
>>> was more than $40K in debt with the landlord. Howard basically dropped out 
>>> of sight when he got sick and I had to step in to put out fires with the 
>>> landlord.   When the archive thing was going on, MFW was trying to 
>>> negotiate a new lease.  We were being served with papers.  Almost 
>>> everything in the way that MFW functioned was so dependent on one 
>>> individual, that there were almost no established patterns to run things.  
>>> Naturally when he was not doing so, things fall apart.  MFW was failing 
>>> what is called the risk assessment test, where an organization can not 
>>> function without a certain individual.  This is unhealthy to an 
>>> organization, plus it makes it much more difficult to get funding.
>>> 
>>> I prefer that this be the last of this thread of this communication.  What 
>>> happened, happened.  These issues have no pertinence to today's events.  
>>> There is no sense in unproductively dwelling on events that are 
>>> unresolvable.  No one can be completely objective in this.
>>> 
>>> It is much better to think about the current MFW for what it is.  Times and 
>>> conditions have changed.  It will not be the old MFW, but I do think that 
>>> it has an important role to play.  Additionally, I wish people wouldn't 
>>> think so much about the MILLENNIUM, but more about what their own needs are 
>>> as filmmakers and what gaps exist in today's current situation that MFW can 
>>> fill.  I am optimistic about the current MFW and have nothing but full 
>>> support and appreciation for those who are working hard or providing 
>>> support.  I would hope that you and others who have negative opinions would 
>>> reconsider, be open minded, and be involved.  If not, that's ok too, but I 
>>> do not want to see every posting regarding MFW to be met with this kind of 
>>> communication.
>>> 
>>> Jay
>>> 
>>> 
>>> 
>>> 
>>> On Thu, Oct 1, 2015 at 10:02 PM, David Baker  wrote:
>>> Jay,
>>> 
>>> Because I, along with Margot Niederland  and Howard helped Lili White
>>> to organize and move the vast archives to a safe warehouse
>>> I know firsthand how perilous that m

[Frameworks] monitor or projector in Brooklyn in November ?

[Amanda Christie]

Hey folks!

I'm going to be spending November in Brooklyn  editing a film, and I am 
bringing my own gear, and I have a studio lined up to work in... but... I don't 
have room in my car for my monitor  ( it was all shot on 35mm, but I'm 
editing digitally)

Does anyone know if it would be possible to borrow or cheaply rent a monitor 
(or projector) in Brooklyn for the month of November so I can see what I'm 
doing?  
It would be so much easier if I didn't have to pack mine!  

I'll be editing using headphones too... so if anyone has speakers I could 
borrow, that would also be awesome... but not as vital as a monitor for me to 
see what I'm working on.



Also... while I'm there... I would love to have a little viewing / feedback 
session if anyone is interested in seeing a rough cut and discussing.  I've 
been feeling rather isolated and like I'm working in a silo on this one for the 
last few years... feedback from peers would be great.  I've been working on 
this film for 6 years... it's my first feature length experimental doc 
Spectres of Shortwave... about radio towers...   there's an older 5 minute 
preview of it on my website that I made when I just started filming 
http://www.amandadawnchristie.ca/new-page-1/  I'm hoping to finally finish the 
whole thing while I'm in Brooklyn.

Anyhow... let me know if it's possible to find a monitor in Brooklyn, and also 
if anyone is interested in a little viewing/feedback session while I'm there.

Looking forward to meeting some new folks and talking film!


Amanda Dawn Christie

506-871-2062
www.amandadawnchristie.ca
ama...@amandadawnchristie.ca
___


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Re: [Frameworks] High-definition frame grabs

[Amanda Christie]

Good catch on #1 Adam!

I replied before I had my morning coffee and was assuming the worst case 
scenario.

Coffee has been had and now the world is a friendly place again... :-)


On 2015-10-01, at 12:55 PM, Adam Hyman wrote:

> #1 isn’t true but the rest are.
> 
> Fair Use for critical commentary is a real thing, at least in the United 
> States, for US-originated publications.  (Copyright law is different from 
> country to country, although the US & Europe at least have been working to 
> sync up their laws.)  
> Just because artists or distributors or film studios don’t want it to be 
> doesn’t mean it isn’t; to the best of my knowledge, no one has ever sued on 
> that point and won, as they know that a more likely result would be that they 
> would lose.
> 
> In addition, something is never plagiarism if it is credited.  (It might be 
> other things, but not “plagiarism”.)  And an image to illustrate a point that 
> you are making in an academic context also isn’t “plagiarism”. 
> 
> However, using an image without permission for advertising or marketing is 
> not fair use.  You can’t use it on the cover of a book or in an ad without 
> full permission.
> 
> But the other reasons are more then good enough to ask permission from the 
> artist.  It’s also good form, and to let someone know that their work is 
> being discussed, which might lead to some publicity, and good dialogue.  And 
> most people in my experience do let you use it for free.  
> 
> Best regards,
> 
> Adam
> (I also have extensive experience doing rights & clearance work for a living)
> 
> 
> On 10/1/15 4:50 AM, "Amanda Christie"  wrote:
> 
>> Yes but for every asshole, there are probably 5 people who will allow you to 
>> use the image for free.  Just ask.
>> 
>> Here are some solid reasons why you should approach the owners of the image:
>> 
>> 1.  If this is an academic publication, you absolutely need to get the 
>> artists' permission to use the image, otherwise it falls under plagiarism.
>> 
>> 2.  If you get the image from the artist or their distributor the image will 
>> be of much higher quality than from a screen grab
>> 
>> 3.  If the artist or distributor does charge a fee, it likely won't be 
>> exhorbitant.  In Canada, the organizations CARFAC and CARCC set fee 
>> schedules as guidelines for the cost of licensing to reproduce images... and 
>> the fees vary depending on what you're doing with them (i.e. type of 
>> publication, whether it's for sale or not, print run, etc.) 
>> You can find the list of their fee schedule here: 
>> http://www.carcc.ca/fee_schedule_2015_2_reproduction.html
>> 
>> 4.  Integrity:  Getting an artist's permission to reproduce their image is a 
>> good thing to do if you are using it to talk about their work or to 
>> illustrate something.  Don't steal it or plagiarize.
>> 
>> 
>> On 2015-10-01, at 7:40 AM, marilyn brakhage wrote:
>> 
>>> Well -- yes.  That's probably true too.
>>> 
>>> Marilyn
>>> 
>>> 
>>> On 30-Sep-15, at 8:58 PM, Chuck Kleinhans wrote:
>>> 
>>>> However, you don’t have to spend much time in the experimental film 
>>>> community to run into artists who have a vastly inflated opinion of 
>>>> themselves, incredible insecurities, and just plain nuttiness.  They may 
>>>> never answer you, insist on reviewing everything you are saying about them 
>>>> for pre-approval, or want to gouge you.
>>> 
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>>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>> 
>> 
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Re: [Frameworks] High-definition frame grabs

[Amanda Christie]

Yes but for every asshole, there are probably 5 people who will allow you to 
use the image for free.  Just ask.

Here are some solid reasons why you should approach the owners of the image:

1.  If this is an academic publication, you absolutely need to get the artists' 
permission to use the image, otherwise it falls under plagiarism.

2.  If you get the image from the artist or their distributor the image will be 
of much higher quality than from a screen grab

3.  If the artist or distributor does charge a fee, it likely won't be 
exhorbitant.  In Canada, the organizations CARFAC and CARCC set fee schedules 
as guidelines for the cost of licensing to reproduce images... and the fees 
vary depending on what you're doing with them (i.e. type of publication, 
whether it's for sale or not, print run, etc.) 
You can find the list of their fee schedule here: 
http://www.carcc.ca/fee_schedule_2015_2_reproduction.html

4.  Integrity:  Getting an artist's permission to reproduce their image is a 
good thing to do if you are using it to talk about their work or to illustrate 
something.  Don't steal it or plagiarize.


On 2015-10-01, at 7:40 AM, marilyn brakhage wrote:

> Well -- yes.  That's probably true too.
> 
> Marilyn
> 
> 
> On 30-Sep-15, at 8:58 PM, Chuck Kleinhans wrote:
> 
>> However, you don’t have to spend much time in the experimental film 
>> community to run into artists who have a vastly inflated opinion of 
>> themselves, incredible insecurities, and just plain nuttiness.  They may 
>> never answer you, insist on reviewing everything you are saying about them 
>> for pre-approval, or want to gouge you.
> 
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Re: [Frameworks] Women filmmaker autobiographies

[Amanda Christie]

There's also a two volume set of Maya Deren's writings and notes...  it 
contains personal letters, notes, film treatments, etc.

It's called the Legend of Maya Deren


adc



On 2015-09-16, at 2:33 AM, Noé Rodríguez wrote:

> Thanks Patrick, that is exactly the kind of book I need!
> Essential Deren is another book that would work for me.
> 
> thanks.
> 
> On 15-09-15 9:41 PM, Patrick Friel wrote:
>> Home Movies and Other Necessary Fictions by Michelle Citron
>> 
>> https://www.upress.umn.edu/book-division/books/home-movies-and-other-necessa
>> ry-fictions
>> 
>> 
>> 
>> 
>> On 9/15/15 10:59 PM, "Noé Rodríguez"  wrote:
>> 
>>> Hello frameworkers,
>> I am compiling a list of books written by filmmakers
>>> about their own
>> work and contextualizing it within their life experience in
>>> the form of
>> an autobiography of their life in relation to film.
>> I am
>>> interested in books by filmmakers reflecting on their practice in a
>> deep
>>> personal way, where their ideas about film are framed within their
>> particular
>>> approach to film-making and their personal understanding of
>> what film is.
>> I
>>> am looking for full books, not articles. Books that compile personal
>> essays
>>> reflecting on the filmmakers work are also considered. i.e
>> Antonioni's
>>> Architecture of Vision.
>> I have found numerous books written by filmmakers
>>> ranging from Jean
>> Renoir to Brackhage, however I am having trouble finding
>>> examples of
>> books like this written by women filmmakers.
>> If you could give me
>>> some recommendations, that would be greatly
>> appreciated.
>> 
>> Thank you very
>>> much,
>> Noé
>> ___
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>>> list
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>>> nfo/frameworks
>> 
>> 
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[Frameworks] looking for a place in Brooklyn in November

[Amanda Christie]

Hello again all,

I had found a place in Brooklyn, but it just fell through, so I figured I'd 
toss this out to the list again in case anyone has any other leads.

I'm coming to Brooklyn for the month of November, and am looking for either a 
room to rent or an apartment to sublet. 
In addition to paying rent, I'm also happy to take care of cats, dogs, or 
plants should you, or anyone you know be out of town and looking for someone to 
love their pets or plants.

Drop me a line if you have any leads on rooms to rent or apartments to 
sublet... and also workspaces...  for the month of November.

Thanks so much,

Amanda Dawn Christie

506-871-2062
www.amandadawnchristie.ca
ama...@amandadawnchristie.ca
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[Frameworks] looking for a room or sublet in Brooklyn this November

[Amanda Christie]

Hello all!

I'm coming to Brooklyn for the month of November, and am looking for either a 
room to rent or an apartment to sublet. 
In addition to paying rent, I'm also happy to take care of cats, dogs, or 
plants should you, or anyone you know be out of town and looking for someone to 
love their pets or plants.

Also, while in town it would be great to meet any of you on this list who are 
in the vicinity... a nice chance to put real life faces with names!

Drop me a line if you have any leads on rooms to rent or apartments to sublet 
for the month of November.

Thanks!

Amanda Dawn Christie

506-871-2062
www.amandadawnchristie.ca
ama...@amandadawnchristie.ca
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[Frameworks] Fwd: Employment Opportunity: Production Coordinator

[Amanda Christie]

Begin forwarded message:

> From: Struts & Faucet 
> Date: August 31, 2015 10:59:12 AM ADT
> To: Amanda Dawn 
> Subject: Employment Opportunity: Production Coordinator
> Reply-To: Struts & Faucet 
> 
> Employment Opportunity at Struts & Faucet – Production Coordinator
> View this email in your browser
> 
> Employment Opportunity: Production Coordinator
> Struts Gallery & Faucet Media Arts Centre
> Application Deadline: September 11, 2015
> Projected Start Date: October 5, 2015
> 21 hours a week at $12/hr
> Struts Gallery & Faucet Media Arts Centre has fostered the creation and 
> presentation of contemporary art practices in Atlantic Canada since 1975. As 
> the only media arts centre in Atlantic Canada that facilitates the production 
> of all types of media art, our membership ranges from experimental filmmakers 
> to new media artists to documentary video artists to performance and sound 
> artists.  
>  
> The Production Coordinator position is a part-time year-long contract with 
> the possibility of renewal.
>  
> Responsibilities
> Coordinating and implementing all technical workshops including communication 
> with workshop facilitators and workshop participants, logistics, set up and 
> documentation.
> Providing one-on-one assistance to visiting artists participating in the Ease 
> on Down the Road: Emerging Media Artist Residency program.
> General duties associated with the gallery and media centre operations.
> Qualifications
> Knowledge of contemporary media art practices as well as knowledge of 
> software and hardware related to those practices.
> A degree/diploma in media arts, film, an arts-related field, or equivalent.
> Exceptional organizational skills.
> Focused, motivated, and capable of working well with others in a small 
> organization.
> The ability to work independently.
> An eagerness to learn.
> A sense of humour.
>  
> Applications can be sent to i...@strutsgallery.ca by 5pm on Friday September 
> 11, 2015.
> 
> Visit www.strutsgallery.ca for more info.
>  
> 
> 
> Want to change how you receive these emails?
> You can update your preferences or unsubscribe from this list
>  
> 
> 
> 
> 
> 
> 
> This email was sent to ama...@amandadawnchristie.ca 
> why did I get this?unsubscribe from this listupdate subscription 
> preferences 
> Struts Gallery & Faucet Media Arts Centre · 7 Lorne Street · Sackville, NB 
> E4L 3Z6 · Canada 
> 
> 
> 

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[Frameworks] films about solfege

[Amanda Christie]

Hello hive mind,

I'm looking for examples of films about or related to solfège.

thanks,

amanda
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Re: [Frameworks] countryside film

[Amanda Christie]

One of mine as well
(the first one I shot on 16mm): 

Turning
http://www.amandadawnchristie.ca/turning/
password = previewonly


adc



On 2015-07-22, at 3:00 PM, mary billyou wrote:

> https://vimeo.com/15333125
> 
> One of my movies...
> 
> Cheers,
> 
> Mary
> 
> On Sun, Jul 19, 2015 at 3:43 PM, Jason Halprin  wrote:
> One not yet mentioned: Ah, Liberty! by Ben Rivers.
> 
> -JH
> 
> Jason Halprin
> jihalp...@gmail.com
> 
> On Mon, Jul 13, 2015 at 3:03 PM, fred truniger  
> wrote:
> Austrian Film!
> Knittelfeld, by Gerhard Friedl! (see: 
> http://www.sixpackfilm.com/en/catalogue/show/722)
> It's exactly what you are looking for. I guess there is a subtitled version.
> cheers, fred
> 
> Am 13.07.15 um 22:58 schrieb Lawrence Brose:
>> Definitely "The Garden " by Derek Jarman a complex and hauntingly beautiful 
>> film filled with restrained rage 
>> 
>> 
>> 
>> Lawrence Brose
>> (716) 491-9062
>> 
>> On Jul 13, 2015, at 1:40 PM, Francisco Torres  wrote:
>> 
>>> Experimental- 
>>> Maybe those early 70s S8 films of the British countryside by Derek Jarman, 
>>> I always feel they contain menace in the pastoral views.
>>> This is the most ''famous'' one..
>>> 
>>> https://www.youtube.com/watch?v=xi-HFQOsJcE
>>> 
>>> 2015-07-13 12:19 GMT-04:00 Tim Halloran :
>>> Post Tenebras Lux. Carlos Reygadas.
>>> 
>>> Tim
>>> 
>>> Sent from my iPad
>>> 
>>> On Jul 13, 2015, at 1:04 AM, franco base  wrote:
>>> 
 Hi
 I'm looking for experimental films where the idyllic vision of the 
 countryside is overturned. Films that show the violence and ignorance that 
 reign in the little villages in   
 opposition, for example, with the hippie vision of the countryside.
 
 Non experimental films are welcome also.
 I think to:
 Hunting Scenes from Bavaria little village
 La Poison 
 Straw Dogs
 
 Thanks a lot.
 
 
 f
 
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> 
> 

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Re: [Frameworks] Digital file to VHS?

[Amanda Christie]

I recently finished a VHS project... performative work looping between two 
modified decks and working with a handmade video switcher built in a peppermint 
tin...

however, i finished the project to digital because the work we did with VHS was 
performative and quite physical, so the tape took quite a beating during the 
creation process, as such, digital finish seemed to be the most stable in that 
instance 

the project was a collaboration between myself and Léandre Bourgeois, and it's 
distributed by CFMDC.  more info can be found here:
http://www.cfmdc.org/node/56725



Amanda Dawn Christie

506-871-2062
www.amandadawnchristie.ca
ama...@amandadawnchristie.ca
___



On 2015-07-14, at 2:58 AM, Albert Alcoz wrote:

> Hello Frameworkers,
> 
> I'm writing because i wanted to ask if someone knows some projects related to 
> artists video and experimental cinema that use the VHS as the final format.
> 
> There's the Monobrow VHS tape production but i don't know anything else.
> http://monobrowvhs.tumblr.com/
> 
> And the other thing i would like to ask is: Is it easy to do that? To 
> transfer a digital file to a VHS tape? What's the best way to do it?
> 
> Thank you very much!
> 
> 
> Albert Alcoz
> ___
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> http://www.albertalcoz.com/
> 
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Re: [Frameworks] LA 16mm tech

[Amanda Christie]

Hi Mariah,

you should touch base with the Echo Park Film Centre in L.A.  They might be 
able to help you out. 

Heather Harkins is working there at Echo Park right now, she's from Eastern 
Canada, but studied film preservation in Rochester, and she is also a filmmaker 
and does lots of work with film and projectors.  If she can't do it, she can 
probably put you in touch with someone who can.  :-)

Best of luck!



Amanda Dawn Christie

506-871-2062
www.amandadawnchristie.ca
ama...@amandadawnchristie.ca
___



On 2015-06-11, at 1:30 PM, mariah garnett wrote:

> Hi!
> So I'm installing this loop https://vimeo.com/52046166
> at a gallery in LA this summer and need to hire a 16mm tech to help with it 
> because i won't be there for the actual install or show. I need someone who 
> is experienced making 16mm loops and knows how to thread a projector and use 
> splicing tape who is going to be in LA in July and August in case the loop 
> breaks and also to help the install team set it up.
> 
> Anyone interested? Still working out what the pay is but it is paid.
> 
> also, does anyone know where I can buy a battery for an eclair? Mine died and 
> it's also like 10 times heavier than it needs to be.
> 
> thanks!
> Mariah
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Re: [Frameworks] translator available (french to english)

[Amanda Christie]

what languages?


> 
> I'm available for translation work - subtitling and film related texts a 
> speciality!

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Re: [Frameworks] VSW - to your attention!

[Amanda Christie]

Thanks Jason!

I'm open to exploring screening and workshop options in various regions of the 
state as well, and possibly even neighbooring states and provinces too if 
people have suggestions. 

The residency is at a place called "The Wave Farm" (https://wavefarm.org/) 
located between Cairo, Hudson, and the Catskills.  I'm open to taking some time 
and travelling around the state, down to NYC, Buffalo, Ithaca, even out of 
state to Ohio if there are options there.  I'll be driving up from New 
Brunswick, so depending on options for stops for screenings and workshops, I 
could cross the border in in Maine from St. Andrews NB, or Woodstock, NB or 
I could travel up through Quebec and Ontario depending on what gets lined 
up.  Possibilities could be throughout New York State, Maine, or even Quebec, 
and Ontario.

Looking forward to driving through the countries with some projectors and films 
à-la-Jill-Kerouac... (no jack here... but a jill).


Amanda Dawn Christie

506-871-2062
www.amandadawnchristie.ca
ama...@amandadawnchristie.ca
___



On 2015-03-29, at 6:45 PM, Jason Halprin wrote:

> A short list to start with:
> 
> Squeaky Wheel, Buffalo
> Pittsburgh Filmmakers (pretty close to Buffalo)
> Cornell Cinema, Ithaca
> Hamilton College, Clinton NY (try contacting Scott MacDonald)
> Colgate University, Hamilton NY
> Binghamton University
> 
> -Jason Halprin
> 
> Jason Halprin
> jihalp...@gmail.com
> 
> On Sun, Mar 29, 2015 at 3:30 PM, Amanda Christie 
>  wrote:
> Thanks for sharing Walter!
> 
> I also have a question on a similar subject for the group.
> 
> I'm going to be doing a radio-art residency in upstate new york next fall 
> (late October), and I was thinking of driving down with a few 16mm projectors 
> and a bunch of my prints... I thought it might be nice to set up a sort of 
> mini-road-trip-style-film-tour while I'm in the region (either on my way to 
> or from the residency).  I can do screenings, performances, and / or teach 
> some workshops. In addition to films, I will also be travelling with 
> theremins, radio gear, and basic electronics, so I could also teach workshops 
> in those fields too if anyone is interested.  I'll definitely get in touch 
> with Tara at VSW.
> 
> 
> Does anyone on the list have other recommendations of places or people to 
> talk to?  I've never set anything like this up before, but I figure, that 
> since I'll have a car, and films, and projectors... why not?
> 
> Any suggestions of places or people to contact in the New York state or 
> surrounding areas would be much appreciated.
> 
> Thanks so much!
> 
> 
> Amanda Dawn Christie
> 
> 506-871-2062
> www.amandadawnchristie.ca
> ama...@amandadawnchristie.ca
> ___
> 
> 
> 
> On 2015-03-29, at 3:56 PM, Walter Ungerer wrote:
> 
>> Dear Frameworkers,
>> 
>> I’d like to draw your attention to the Visual Studies Workshop in Rochester, 
>> New York. It’s a study facility for film and photography. Last week I had a 
>> film showing there of my more recent work. First, I’d like to thank Tara 
>> Nelson for offering the venue to me to show my work. Quite wonderful. The 
>> facility has excellent projection and sound equipment and a large screen. 
>> Tara’s husband Gordon Nelson (audio engineer), and Tara’s assistant Ray Ray 
>> Mitrano (public relations) effectively completed the staff . I’ll add a 
>> probing and very appreciative audience to my description, as a culmination 
>> of my presentation.
>> 
>> I would send this message of appreciation privately to Tara, but it would 
>> not draw attention to the Visual Studies Workshop facility for the listserv. 
>> As an artist I am always looking for opportunities to exhibit my work, and I 
>> imagine many of you on this list, are in a similar place. Therefore I highly 
>> recommend contacting Tara Nelson at VSW for more information about film 
>> screenings there. Not to forget, nearby is the George Eastman House, another 
>> drove of archival material on film and photography.
>> 
>> Thanks all for reading.
>> Walter Ungerer
>> ___
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> 
> 
> ___
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> 
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Re: [Frameworks] VSW - to your attention!

[Amanda Christie]

Thanks for sharing Walter!

I also have a question on a similar subject for the group.

I'm going to be doing a radio-art residency in upstate new york next fall (late 
October), and I was thinking of driving down with a few 16mm projectors and a 
bunch of my prints... I thought it might be nice to set up a sort of 
mini-road-trip-style-film-tour while I'm in the region (either on my way to or 
from the residency).  I can do screenings, performances, and / or teach some 
workshops. In addition to films, I will also be travelling with theremins, 
radio gear, and basic electronics, so I could also teach workshops in those 
fields too if anyone is interested.  I'll definitely get in touch with Tara at 
VSW.


Does anyone on the list have other recommendations of places or people to talk 
to?  I've never set anything like this up before, but I figure, that since I'll 
have a car, and films, and projectors... why not?

Any suggestions of places or people to contact in the New York state or 
surrounding areas would be much appreciated.

Thanks so much!


Amanda Dawn Christie

506-871-2062
www.amandadawnchristie.ca
ama...@amandadawnchristie.ca
___



On 2015-03-29, at 3:56 PM, Walter Ungerer wrote:

> Dear Frameworkers,
> 
> I’d like to draw your attention to the Visual Studies Workshop in Rochester, 
> New York. It’s a study facility for film and photography. Last week I had a 
> film showing there of my more recent work. First, I’d like to thank Tara 
> Nelson for offering the venue to me to show my work. Quite wonderful. The 
> facility has excellent projection and sound equipment and a large screen. 
> Tara’s husband Gordon Nelson (audio engineer), and Tara’s assistant Ray Ray 
> Mitrano (public relations) effectively completed the staff . I’ll add a 
> probing and very appreciative audience to my description, as a culmination of 
> my presentation.
> 
> I would send this message of appreciation privately to Tara, but it would not 
> draw attention to the Visual Studies Workshop facility for the listserv. As 
> an artist I am always looking for opportunities to exhibit my work, and I 
> imagine many of you on this list, are in a similar place. Therefore I highly 
> recommend contacting Tara Nelson at VSW for more information about film 
> screenings there. Not to forget, nearby is the George Eastman House, another 
> drove of archival material on film and photography.
> 
> Thanks all for reading.
> Walter Ungerer
> ___
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> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks

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Re: [Frameworks] Women working in Expanded Cinema

[Amanda Christie]

Kerry Laitala 



On 2015-03-21, at 1:48 PM, Kenneth Linehan wrote:

> I'd recommend adding Brittany Gravely & Tara Nelson to your list. Both 
> working of film & in expanded cinema context.
> 
> 
>> On Mar 20, 2015, at 1:04 PM, Alex Balkam  wrote:
>> 
>> Hello Frameworks, 
>> 
>> At the Atlantic Filmmakers Cooperative where I work we are interested in 
>> inviting women working in the Expanded Cinema realm to join us as Visiting 
>> Artists for an Expanded Cinema program we are hoping to develop. 
>> 
>> I was interested to know if anyone on the list would like to recommend 
>> practicing Expanded Cinema artists, ideally women who work in the practice. 
>> We are primarily interested in artists working with celluloid film, as 
>> opposed to video mapping, etc.
>> 
>> Thank you,
>> 
>> ___
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Re: [Frameworks] Super 8 to 35mm blowup?

[Amanda Christie]

I'm glad to see that my tax dollars at least preserve this equipment at the 
National Archives... even if it's mostly archiving commercial stuff at the 
moment, I am still optimistic that with some advocacy and lobbying, we can put 
infrastructures in place to encourage the acquisition and preservation of 
independent, experimental and art films.  The Independent Media Arts Alliance 
is currently looking into this.

Just the fact that this equipment is preserved and running and maintained 
somewhere is so important.
I posted a few photos of their equipment on my twitter feed if any of you want 
to see some photos, my handle is: @magnet_mountain
A few years ago, as commercial labs were sending much of this stuff away for 
scrap metal... I really felt that it was important for artist run centres and 
film-co-ops to maintain this gear (especially the larger stuff), even if it 
didn't get a high volume of use by members... because individual artists aren't 
likely to be able to house a 35mm optical printer or animation stand in their 
studio... so for artists who use this equipment, they need to be able to find 
it and access it somewhere... even if this equipment doesn't get high volume 
use... once it disappears, it will be zero-volume use. Sadly now though, there 
seems to be a trend of centres getting rid of stuff that doesn't get a lot of 
use, in favour of newer equipment that gets rented more often.  I totally 
understand the logic from an administration side... but it does mean that 
artists working in these processes have to look harder and travel farther to 
find specialized equipment... and because much of this stuff is not 
manufactured any more... and because after being sold several times... much of 
it is eventually sold for scrap metal because it takes up precious space... 
some of these things are becoming like endangered species, and as they become 
more rare, we find ourselves dealing with endangered art practices.

So, I'm glad that there is a solid set of equipment at the National archives 
being preserved and maintained in working order... (even if it's mostly 
archiving commercial work now, at least it's in working order and being 
maintained).

I just wish it was easier for artist run centres and film co-ops to also have 
the resources (money, space, etc) to maintain this equipment as well for 
artists who wish to access and use them to make new work.  It's not easy for 
the centres and co-ops.  They have a lot of challenges.

So, I'm raising my cup of coffee in a toast to all you diligent workers and 
advocates at centres, labs, and co-ops around the world, keeping equipment like 
this alive and running and accessible to artists.  Thank you!
Your job is not always easy, but it is important and appreciated.  This morning 
cup of coffee toast is for you!  Cheers.

xoadc



On 2015-03-18, at 11:36 AM, Nicholas Kovats wrote:

> Excellent report, Amanda! I have no objection to this type of taxation. :)
> 
> I suspect Klaus Linnenbruegger  built the
> National Archive wet gates as per his work at the National Film
> Archives of Canada in Ottawa and the Library of Congress in Dayton,
> Ohio. He has a web site (KL Archival Film Equipment, i.e.
> http://www.klarchivalfilmequipment.ca/, I believe he also resides in
> the Ottawa area.
> 
> 35mm = http://www.klarchivalfilmequipment.ca/Wetgates-Full.01.html
> 28mm = http://www.klarchivalfilmequipment.ca/Wetgates-Full.02.html
> 16mm =  http://www.klarchivalfilmequipment.ca/Wetgates-Full.03.html
> 16mm absent registration pins. For severe shrinkage =
> http://www.klarchivalfilmequipment.ca/Wetgates-Full.04.html
> 9.5mm = http://www.klarchivalfilmequipment.ca/Wetgates-Full.06.html
> R8/S8 = http://www.klarchivalfilmequipment.ca/Wetgates-Full.05.html
> 
> Lots of precious equipment and specialized adaptations. He was still
> operational as of my 2009 email correspondence.
> 
> Nicholas
> 
> 
> On Wed, Mar 18, 2015 at 9:45 AM, Jean-Louis Seguin  
> wrote:
>> Our glorious tax dollars at work!
>> 
>> Jean-Louis
>> 
>> Sent from my iPhone
>> 
>>> On Mar 18, 2015, at 8:25 AM, Amanda Christie  
>>> wrote:
>>> 
>>> I was just at the National Archives of Canada Preservation Centre this 
>>> week, and they have AMAZING optical blow up facilities.
>>> they have all the gates (not just regular 8, super8, 16mm, super 16mm, and 
>>> 35mm, but also 9mm, 9.5 mm, and 28 mm). As well as a contact printer and 
>>> their own lab.
>>> 
>>> Sadly, their facilities can't be accessed by the public, it's only for 
>>> working with their own archives and the collection... and double-plus sadly 
>>> there is not a lot of support for acquiring art or experimental films 
>>> hopefully t

Re: [Frameworks] Super 8 to 35mm blowup?

[Amanda Christie]

I was just at the National Archives of Canada Preservation Centre this week, 
and they have AMAZING optical blow up facilities.
they have all the gates (not just regular 8, super8, 16mm, super 16mm, and 
35mm, but also 9mm, 9.5 mm, and 28 mm). As well as a contact printer and their 
own lab.

Sadly, their facilities can't be accessed by the public, it's only for working 
with their own archives and the collection... and double-plus sadly there is 
not a lot of support for acquiring art or experimental films hopefully that 
will change soon currently most of the films they acquire are anything 
produced through Telefilm Canada or the Canadian Media Fund, because there are 
infrastructures in place for all works made through those programs to be 
automatically acquired by the National Archives... however, there are currently 
no infrastructures in place or policies for regularly acquiring independent or 
experimental films... they do have some... but it's apparently, convincing them 
to acquire the works can be tricky.

But at least those facilities exist!
They also have a few rooms full of intercines (including one that was modified 
to do 9mm and 28mm)... all of their gear is super clean and in working order.


Amanda Dawn Christie

506-871-2062
www.amandadawnchristie.ca
ama...@amandadawnchristie.ca
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Re: [Frameworks] Optical sound - Structural film

[Amanda Christie]

Norman McLaren made several films by animating directly onto the optical track.
There is even a short documentary of him doing this in the film called "Pen 
Point Percussion" where they film him working on a film called "Dots"
You can view his work online on the National Film Board website: 
https://www.nfb.ca/explore-all-directors/Norman-McLaren/

Is there a reason that you're keeping it to the 60s and 70s?

I can think of other artists, such Richard Reeves, as well as myself, who have 
done work directly on optical tracks in the last 20 years.

adc



Amanda Dawn Christie

506-871-2062
www.amandadawnchristie.ca
ama...@amandadawnchristie.ca
___



On 2015-02-11, at 7:02 AM, Peter Mudie wrote:

> Rarely discussed, but a fantastic film – one of the best from the LFMC.
> Peter
> (Perth)
> 
> From: Pip Chodorov 
> Reply-To: Experimental Film Discussion List 
> Date: Wednesday, 11 February 2015 6:31 pm
> To: Albert Alcoz , Experimental Film Discussion List 
> 
> Subject: Re: [Frameworks] Optical sound - Structural film
> 
> There's "Ten Drawings" by Steve Farrer (1976)
> http://lightcone.org/fr/film-477-10-drawings
> 
> 
> At 8:46 + 11/02/15, Albert Alcoz wrote:
>> Does anybody know structural or structural-materialist or minimal/abstract 
>> films from the sixties or seventies where the sound of the film comes 
>> directly from the graphic treatment on the optical sound area of the 
>> celluloid?
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Re: [Frameworks] optical printer questions

[Amanda Christie]

Yes, mixing filters can be great.  There is a real science to it, but you can 
also play around.  As for testing on the cheap...

What I did when doing more precise colour projects... I bought a really good 
little light table... Geppe makes a portable 4x5 inch light table (more of a 
tablet) that is colour balanced to 9600 kelvins (dalylight) and runs on 6 AAA 
batteries (it also has an AC adaptor).  I think it was about $100 when I bought 
it back in 2005.  yes... film projectors don't run at 9600 K however, I 
found that it was nice to have a light table that was a known value as a 
starting point (it also comes in handy when doing expanded cinema 
performances when looking for loops on the fly)

I also had an analysis projector that could project one frame at a time without 
burning the film. 
I could look at single frames as long as I wanted and make notes.

So then, when I did my colour filter tests on the optical printer... I would 
just do one frame per filter... I would do a series of frames, making a change 
at each frame... followed by 5 black frames, and then move on to the next 
series of tests.  (I was working with superimposing various layers of film, 
through various colour correction and ND filters... so finding just the right 
balance involved over 9 different filters per frame... lots of variables!

I kept notes of what I was testing... I printed out an excel spread sheet and 
left columns and rows blank, but big enough to write in for the following 
categories... it was essentially a table with the following columns:

---
# of frames : shot # : description of shot :  layer : ND filter : CC filter : 
Colour Separation (CS) filter (Red, Green, or Blue) : other filter : aperture : 
notes
---

This table was then my guide when I got my film back from the lab.
Once I got the film back from the lab, I would look at it with the table, and 
use a sharpie to write directly on the film itself... not all of the details, 
but enough... 
The black frames between test sequences were invaluable for knowing which 
sequenc is which... sometimes the differences were incredibly subtle.

Because I was only doing one frame for each test, my roll of film that went to 
the lab was only about 5  - 10 feet the tricky thing is, that you really 
need to leave enough head and tail on the film so the lab doesn't just cut your 
test off when loading their machines (I learned that the hard way)... to be 
safe... give them about 15 feet at the beginning and the end... and also write 
"SAVE ENDS"   I remember I could easily spend 5 days or more prepping just a 10 
foot test strip... then when I got it back, I would analyse the results both on 
the light table, and also projected with the analysis projector. 

If you don't have a light table or analysis projector, you would have to shoot  
A LOT more film because you would want to see it projected, and you need 
time to look at it and process it... 1 frame, even 24 frames would go by wa 
too fast... if you're judging your tests on a regular projector, you'll want to 
give yourself enough time to look and assess each test... it's up to you to 
decide how much time you need to see it... then put a section of black between 
each test so that you know when one ends and the next begins.

Hope that's helpful... best of luck, and most importantly, have fun with it!

Amanda Dawn Christie

506-871-2062
www.amandadawnchristie.ca
ama...@amandadawnchristie.ca
___



On 2014-12-27, at 7:14 PM, Jeff Kreines wrote:

> With the filters Scott suggests, shoot a series of single frames with 
> different filter combinations and exposures — 5 feet of film will give you a 
> lot of tests cheaply, especially if your lab is friendly about running tests.
> 
>> On Dec 27, 2014, at 4:57 PM, Scott Dorsey  wrote:
>> 
>> Sure, you could use CC filters on the light source.  Ask your local camera
>> store for a CC filter kit like people with B&W enlargers used to use for
>> printing still color work.
>> 
>> But you could also just let it go blue, and correct it in the final print
>> when you print the interneg.  You won't have as much range, but if you are
>> starting with a blue positive original you probably don't have much color
>> range in the original anyway.
>> --scott
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> 
> Jeff Kreines
> Kinetta
> j...@kinetta.com
> kinetta.com
> 
> 
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Re: [Frameworks] experimental/handcrafted animation

[Amanda Christie]

Check out 

"Assembled" by Becka Barker
she manually cut super 8 frame holes into 35mm film, and spliced in the super 8 
frames into the 35mm film, frame by frame, and then scratched animation around 
on the remaining 35mm film frames.  

She recently completed a more digital project involving 3-D projection on a 
sphere called map-of-the-world, where she had people draw maps of the world 
from memory and then animated them all together, you could walk all the way 
around the sphere and watch the map of the world shift an morph as she animated 
people's remembered and imagined maps sequentially.  that was also quite 
beautiful!  hard to show in a class though, and i don't know if there is 
documentation.

It's beautiful!

xoadc


On 2014-11-12, at 10:16 AM, Anna Swanson wrote:

> Hi Kelly,
> 
> For contemporary work by very cool ladies:
> Definitely check out the work of Britta Johnson (http://www.thekmpi.net/) and 
> the SEAT folks (Seattle Experimental Animation Team) in general.
> Also, Picture Start by Hannah White (https://vimeo.com/91560907)
> 
> Best,
> Anna
> 
> On Tue, Nov 11, 2014 at 3:24 PM, Dave Tetzlaff  wrote:
> Kelly:
> 
> I highly recommend the work of Jeanne Stern: http://jeannestern.com/films.html
> 
> > I'm finalizing a syllabus for an upcoming handcrafted animation course... 
> > I'm especially looking for work made by women...
> 
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Re: [Frameworks] Deep Listening Experimental Film--bringing Deep Listening to the Office!

[Amanda Christie]

You could also try the RE:FLUX festival of experimental music and sound art in 
Moncton.

It's run by the Galerie Sans Nom, and I used to be the director until I stepped 
down in August...  I'd suggest that any of you who do sound installations, 
experimental music, or documentaries about experimental music to submit to them.

The festival is next May, and it will be the 10th edition.  They always include 
a variety of concerts (ranging from free jazz, to noise, to contemporary 
classical new music, to electronic, to electroacoustic, etc), as well as 
workshops, sound art installations in the gallery and in public spaces, as well 
as one documentary film about experimental music, and one listening party.  

They are going through submissions in the next month.

here is the site for the gallery: www.galeriesansnom.org

here is the site for the festival (newly revamped and still missing some info): 
 http://www.festivalreflux.com/

you can reach the new co-directors, Rémi Belliveau and Annie France Noël at the 
following email addresses:  direct...@galeriesansnom.org   or 
ref...@galeriesansnom.org


xoadc


On 2014-10-15, at 4:07 PM, Michele Smith wrote:

> You might try Western Front in Vancouver, Canada. They have hosted deep 
> listening workshops in the past. http://front.bc.ca/new-music/ 
> On Oct 15, 2014, at 11:55 AM, Angela Holm  wrote:
> 
>> Hello Frameworkers, 
>> 
>> Does anyone have a suggestion of where to show a short film (10 mins) that 
>> is an experimental documentary about a Deep Listening group, Deep Listening 
>> Incorporated, whose goal is to bring Pauline Oliveros' Deep Listening 
>> Practice into the corporate workplace?
>> 
>> Deep Listening fits in perfectly to the zeitgeist of corporate wellness and 
>> mindfulness initiatives and is a great way to bring a higher consciousness 
>> to the 9 to 5 grind. 
>> 
>> Festivals or venues that have a meditation or mindfulness focus, or an 
>> interest in Pauline Oliveros and experimental music?
>> 
>> The video is all created from recorded video conferencing meetings with 
>> Pauline and the group of 5 women who all work in the corporate field (3 of 
>> which work at Google). 
>> 
>> Many thanks for any thoughts or ideas! 
>> 
>> Cheers. 
>> Angie Holm
>> 
>> 
>> 
>> ___
>> 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] Fwd: Important Changes to Motion Picture Film Distribution & Customer Service

[Amanda Christie]

same here.  I've always ordered from Rochester... and whether I was on the West 
Coast in Vancouver or on the East coast in Halifax, it always arrived the next 
day, even in Sackville which was a small town of only 3000 (certainly not a 
major urban centre), still arrived next day.
The only time I couldn't do that was when I was teaching a workshop up north in 
the arctic in the Northwest territories so that time I had to order in 
advance before I left by plane

so, as long as you're not up in the arctic circle next day delivery should 
still be pretty sweetl

xoadc


On 2014-10-17, at 6:48 PM, Roger Wilson wrote:

> I live in Ottawa Ontario in Canada and have had to order my film from 
> Rochester for years. I usually get it next day, it really does not affect my 
> process other then I need to plan ahead. I rather see Kodak make these type 
> of changes then discontinuing film stocks. 
> 
> 
> Roger D. Wilson
> Film Scientist
> 613 324 - 7504
> rogerdwil...@sympatico.ca
> http://www.rogerdwilson.ca
> 
> Without failure you can never achieve success. I have based my process and my 
> career as an experimental film artist on this statement; and I welcome it as 
> it pushes me forward as an artist to try something different, something new. 
> 
> 
> From: d.nad...@gmail.com
> Date: Fri, 17 Oct 2014 14:01:27 -0700
> To: infiltration...@gmail.com
> CC: frameworks@jonasmekasfilms.com
> Subject: Re: [Frameworks] Fwd: Important Changes to Motion Picture Film   
> Distribution & Customer Service
> 
> It's true. I'm sitting in the "lobby" of 
> Kodak's Will Call garage in Hollywood 
> waiting for my last case of super-8 film 
> from this place. It's finally happening...
> Adieu, Dana
> 
> 
> Sent from my iPhone
> 
> On Oct 16, 2014, at 1:19 PM, Charles Chadwick  
> wrote:
> 
> 
> 
> 
> :charles:chadwick:
> :artist:filmmaker:
> www.charleschadwick.org
> 
> Begin forwarded message:
> 
> From: "Kodak's Entertainment Imaging" 
> Date: October 16, 2014 at 1:08:09 PM PDT
> To: 
> Subject: Important Changes to Motion Picture Film Distribution & Customer 
> Service
> Reply-To: "Kodak" 
> 
> 
> View in a webpage
>  
>  
> 
>   
> InMotion
> 
> News from Kodak Entertainment Imaging
> 
> 
> 
> New Direct Shipping Model
> 
> Kodak is in the midst of optimizing its motion picture film distribution by 
> moving to a direct ship model, serving customers from our manufacturing 
> facility in Rochester. As such, today we are announcing some changes in the 
> way we distribute our motion picture products and provide customer service 
> within the United States. 
> 
> Effective Monday November 3, 2014: 
> Reflective of our newly centralized service and support model, normal 
> customer service telephone hours will now be Monday thru Friday, 8am to 5pm 
> Eastern Time. 
> 
> All orders will continue to be placed either by calling 1-800-621-FILM (3456) 
> and pressing prompt 1, or by sending an e-mail outlining your order, a 
> purchase order number where applicable, "ship to" information, your Kodak 
> account number, or credit card information, toeiameri...@kodak.com.* 
> 
> *Please note: Unless otherwise arranged, Kodak will ship your order from our 
> Rochester Distribution Center to your provided address via a common carrier 
> of Kodak's choice. Anticipated delivery will be five (5) working days after 
> the date of your order. When possible, expedited delivery is available at 
> your sole expense. 
> 
> In addition: 
> • "Will Call" service in the New York City area will no longer be 
> provided.
> • Our Hollywood Distribution Facility will relocate to PRO-TEK Vaults, in 
> Burbank California. Limited pick-up capabilities will be available from that 
> location.
> • Kodak's ShootSaver service will no longer be available.
> 
> As we have done for over a century, Kodak continues to provide motion picture 
> products and support to filmmakers not only in the United States, but 
> worldwide. Should you have special needs please contact your Kodak Account 
> Manager or visit our website
> www.kodak.com/go/motion. 
> 
> Thank you for your patience and support as we launch this new delivery 
> process. Everyone here at Kodak looks forward to working with you now and 
> into the future. 
> 
> 
> Sincerely, 
> 
> Bruce A. Berke
> Manager Sales, Marketing & Administration
> Kodak Entertainment Imaging
>   
>   
>  
> 
>  
>   Join us on Facebook
>  
>   Follow us on Twitter atKodak_ShootFilm
>  
>   Watch us on YouTube
> 
> 
> 
>  
>  
> Kodak Email Privacy Policy:
> To change your email address or other contact information, please update your 
> profile.
> If you do not wish to receive promotional emails from Kodak's Entertainment 
> Imaging Team, please unsubscribe. 
> The sender of this email is Kodak's Entertainment Imaging Team, 343 State 
> Street, Rochester, NY 14650. 
> 
> www.kodak.com/go/motion | 1.800.621.FILM for US&C
> ©Kodak, 2013. Kodak

Re: [Frameworks] looper question

[Amanda Christie]

thanks pip!

i actually rented the looper from robert... and just got off the phone with 
him... he says it can be normal and to just wait and let it run for a while 
that it will balance itself 

so... wait i shall... velvet on the floor... so at least the film is cleaning 
itself as it runs along that... ha ha!

i'll make sure to get an active looper next time.

xoadc



On 2014-10-12, at 2:31 PM, Pip Chodorov wrote:

> I have never had this problem persist more than an hour or so.
> Maybe you can contact Robert Miniaci for help as he makes 35mm loopers in 
> Montreal.
> 
> 
> At 14:27 -0300 12/10/14, Amanda Christie wrote:
>> for those of you who have used these, or other styles of loopers does it 
>> usually take a few days to find the right balance?  or is it possible to get 
>> it working at the initial time of install?
>> 
>> xoadc
>> 
>> 
> 
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks

___
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FrameWorks@jonasmekasfilms.com
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Re: [Frameworks] looper question

[Amanda Christie]

hmmm... interesting

i've checked all the splices.  clean, smooth, double spliced, no residue or 
tape goo...
the projector does not leak oil... 
and i haven't had any seizing problems.

sadly it is not a motorized looper... i almost got one of those, but it was 
booked before me  so it's rollers are passive and the loop is being moved 
entirely by the projector.

i do have one more print... clean and never before used but i'm not sure if 
this looper has enough diameter to handle more film

so h 

my guess is that the tightness of the loop itself is uneven... so 
i think i will add one more wind and if that doesn't do it then i'll 
take the whole thing off, inspect the film, and reload.

for those of you who have used these, or other styles of loopers does it 
usually take a few days to find the right balance?  or is it possible to get it 
working at the initial time of install?

xoadc



On 2014-10-12, at 2:04 PM, Julian Antos wrote:

> Running anything over 10 minutes I would recommend using a failsafe system or 
> have the projector under constant surveillance. The more film you have on 
> there the more likely it is to fail and one "brain wrap" will destroy your 
> projector. 
> 
> On Sun, Oct 12, 2014 at 11:59 AM, Pip Chodorov  wrote:
> Hi Amanda,
> It's not a motorized looper is it?
> The projector should be pulling film in the front as fast as it's spitting it 
> out the back.
> Most loopers are driven by the projector so the only problem would be if 
> there is too much torque or friction or if the film is too heavy and the 
> projector is having trouble pulling.
> In that case a wider diameter can be a good idea.
> Another idea would be to load several prints together (making a 30 or 40 
> minute loop) if you have prints available and if the looper is big enough.
> -Pip
> 
> 
> At 13:49 -0300 12/10/14, Amanda Christie wrote:
> I wrapped the film another time, and adjusted the rollers and arms a bit so 
> that there was no slack... within 40 minutes... 4 cycles of the film, it was 
> back to dragging on the floor again
> 
> my guess is that the loop is just tightening a bit with each cycle, thus 
> freeing up more film slack outside of the box does this make sense? shall 
> i just keep adding a loop, waiting for it to slack off, then add another loop 
> again? until it stops needing more loops?
> 
> i'm suprised by the variation of the slack within the same cycle and am 
> not sure what causes that... it's a 10 minute film, and there are 4 splices 
> (maybe 5) in the print. the print was printed in 2012 (maybe 2011) and 
> ran for 6 weeks in another installation without this problem
> 
> would the multiple splices cause the slack variation?  right now, it just 
> went all the way up taught, far away from the floor, and then dipped back 
> down all the way to the floor
> 
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
> 
> 
> 
> -- 
> Julian Antos
> Northwest Chicago Film Society
> www.northwestchicagofilmsociety.org
> 773 827 8991
> 
>   
> ___
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> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks

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Re: [Frameworks] looper question

[Amanda Christie]

I wrapped the film another time, and adjusted the rollers and arms a bit so 
that there was no slack... within 40 minutes... 4 cycles of the film, it was 
back to dragging on the floor again 

my guess is that the loop is just tightening a bit with each cycle, thus 
freeing up more film slack outside of the box does this make sense? shall i 
just keep adding a loop, waiting for it to slack off, then add another loop 
again? until it stops needing more loops?

i'm suprised by the variation of the slack within the same cycle and am not 
sure what causes that... it's a 10 minute film, and there are 4 splices (maybe 
5) in the print. the print was printed in 2012 (maybe 2011) and ran for 6 
weeks in another installation without this problem 

would the multiple splices cause the slack variation?  right now, it just went 
all the way up taught, far away from the floor, and then dipped back down all 
the way to the floor 


would the solution be to unload the print and rewind it tighter, and reload the 
looper with a tighter loop?  or just keep adding more loops to this one, every 
time there is enough slack to do so?

xoadc




On 2014-10-10, at 3:40 PM, Karl Reinsalu wrote:

> I would wrap the film before it touches the ground. The pain is finding that 
> you need more slack to get the loop to fit. :(  Do you have permutatable 
> arms? (aka: you can change the distance in order to take-up slack?)
> 
> K.
> 
> On Fri, Oct 10, 2014 at 2:10 PM, Amanda Christie 
>  wrote:
> Thanks Karl!
> 
> to clarify... am i on the right track... to keep waiting... or to keep 
> adjusting?
> 
> the spaghetti dance on the floor pains me to watch... i want to grab a ladder 
> and wrap another loop around the outside... , but it was too tight when i did 
> that last time, no matter where i put the rollers or the slack control.
> 
> it is indeed an RFS platter my instinct is to adjust... but I was told to 
> wait a bit and watch it... so painful to watch the spaghetti though it 
> only seems to be getting looser not tighter.
> 
> Amanda Dawn Christie
> 
> 506-871-2062
> www.amandadawnchristie.ca
> ama...@amandadawnchristie.ca
> ___
> 
> 
> 
> On 2014-10-10, at 3:06 PM, Karl Reinsalu wrote:
> 
>> You are on the right track.  In my experience you want the platter as level 
>> as possible (RFS Type Platter Looper) to maintain balance.  Never let the 
>> loop pull backwards and this usually results in the film binding at a point 
>> in the run (not fun).  I've had instances where I have to constantly find 
>> the splice and add the slack to the outer part of the loop in order to get 
>> the sweet spot. Id suggest keep wrapping and adjust your front and rear feed 
>> (if you can) to tweak the tension right when it stops slacking.
>> 
>> Best of luck!
>> 
>> Karl.
>> 
>> LIFT TECH - www.lift.ca
>> 
>> On Fri, Oct 10, 2014 at 1:57 PM, Amanda Christie 
>>  wrote:
>> hello all,
>> 
>> i have a bit of a looper question.
>> 
>> i've worked with them in the past, but not extensively... and this is the 
>> first time i've run into this issue.
>> 
>> we loaded the 35mm looper on monday, and ran it for a bit on monday, 
>> tuesday, and wednesday just to get the right balance and tension... but 
>> wednesday night during the opening, it kept getting more and more slack, 
>> dipping closer to the ground... so i spent the day at the gallery yesterday, 
>> with some fabric on the floor watching it... because i was told that it was 
>> normal that it would take a couple of full days running for it to adjust to 
>> heat and humidity and find it's ideal balance... but it started getting 
>> really really slack and like spaghetti on the ground... so eventually i 
>> stopped it, and added another loop around the looper to take up the slack... 
>> it was fine for a while... but then would fluctuate extremely... with the 
>> loop dropping down to the ground, then tightening up to as tight as it would 
>> go, then back down to the ground... i was hoping it would just find it's 
>> balance... but then it got too tight up at the top at the loop box, and 
>> started to pop up above the internal vertical rollers, so i stopped it, and 
>> removed that external loop again.  now, once again it is too slack like 
>> spaghetti on the floor (safely on lint free fabric though!)
>> 
>> should i give it a few more hours to tighten up and find it's balance, or 
>> should i stop it, and wrap another loop around the outside (like i did 
>> yesterday, but that was too tight), then rel

Re: [Frameworks] looper question

[Amanda Christie]

i do indeed have permutable arms!

the crazy thing is how much the slack varies within one run of the loop it 
will touch the ground, but then go up and go so tight that it almost jams 
that's the part that i'm struggling with 

Amanda Dawn Christie

506-871-2062
www.amandadawnchristie.ca
ama...@amandadawnchristie.ca
___



On 2014-10-10, at 3:40 PM, Karl Reinsalu wrote:

> I would wrap the film before it touches the ground. The pain is finding that 
> you need more slack to get the loop to fit. :(  Do you have permutatable 
> arms? (aka: you can change the distance in order to take-up slack?)
> 
> K.
> 
> On Fri, Oct 10, 2014 at 2:10 PM, Amanda Christie 
>  wrote:
> Thanks Karl!
> 
> to clarify... am i on the right track... to keep waiting... or to keep 
> adjusting?
> 
> the spaghetti dance on the floor pains me to watch... i want to grab a ladder 
> and wrap another loop around the outside... , but it was too tight when i did 
> that last time, no matter where i put the rollers or the slack control.
> 
> it is indeed an RFS platter my instinct is to adjust... but I was told to 
> wait a bit and watch it... so painful to watch the spaghetti though it 
> only seems to be getting looser not tighter.
> 
> Amanda Dawn Christie
> 
> 506-871-2062
> www.amandadawnchristie.ca
> ama...@amandadawnchristie.ca
> ___
> 
> 
> 
> On 2014-10-10, at 3:06 PM, Karl Reinsalu wrote:
> 
>> You are on the right track.  In my experience you want the platter as level 
>> as possible (RFS Type Platter Looper) to maintain balance.  Never let the 
>> loop pull backwards and this usually results in the film binding at a point 
>> in the run (not fun).  I've had instances where I have to constantly find 
>> the splice and add the slack to the outer part of the loop in order to get 
>> the sweet spot. Id suggest keep wrapping and adjust your front and rear feed 
>> (if you can) to tweak the tension right when it stops slacking.
>> 
>> Best of luck!
>> 
>> Karl.
>> 
>> LIFT TECH - www.lift.ca
>> 
>> On Fri, Oct 10, 2014 at 1:57 PM, Amanda Christie 
>>  wrote:
>> hello all,
>> 
>> i have a bit of a looper question.
>> 
>> i've worked with them in the past, but not extensively... and this is the 
>> first time i've run into this issue.
>> 
>> we loaded the 35mm looper on monday, and ran it for a bit on monday, 
>> tuesday, and wednesday just to get the right balance and tension... but 
>> wednesday night during the opening, it kept getting more and more slack, 
>> dipping closer to the ground... so i spent the day at the gallery yesterday, 
>> with some fabric on the floor watching it... because i was told that it was 
>> normal that it would take a couple of full days running for it to adjust to 
>> heat and humidity and find it's ideal balance... but it started getting 
>> really really slack and like spaghetti on the ground... so eventually i 
>> stopped it, and added another loop around the looper to take up the slack... 
>> it was fine for a while... but then would fluctuate extremely... with the 
>> loop dropping down to the ground, then tightening up to as tight as it would 
>> go, then back down to the ground... i was hoping it would just find it's 
>> balance... but then it got too tight up at the top at the loop box, and 
>> started to pop up above the internal vertical rollers, so i stopped it, and 
>> removed that external loop again.  now, once again it is too slack like 
>> spaghetti on the floor (safely on lint free fabric though!)
>> 
>> should i give it a few more hours to tighten up and find it's balance, or 
>> should i stop it, and wrap another loop around the outside (like i did 
>> yesterday, but that was too tight), then release a loop from the inside (so 
>> that it's not quite so tight)
>> 
>> is this because it's an older print (only 2 years old) with a few splices 
>> and burns in it from previous exhibitions?  would i be better off with a 
>> brand new print?
>> 
>> or do i just sit tight and wait for it to find it's happy place?
>> 
>> any advice from more experienced loopers would be much appreciated.  thank 
>> so much!
>> 
>> 
>> Amanda Dawn Christie
>> 
>> 506-871-2062
>> www.amandadawnchristie.ca
>> ama...@amandadawnchristie.ca
>> ___
>> 
>> 
>> _

Re: [Frameworks] looper question

[Amanda Christie]

Thanks Karl!

to clarify... am i on the right track... to keep waiting... or to keep 
adjusting?

the spaghetti dance on the floor pains me to watch... i want to grab a ladder 
and wrap another loop around the outside... , but it was too tight when i did 
that last time, no matter where i put the rollers or the slack control.

it is indeed an RFS platter my instinct is to adjust... but I was told to 
wait a bit and watch it... so painful to watch the spaghetti though it only 
seems to be getting looser not tighter.

Amanda Dawn Christie

506-871-2062
www.amandadawnchristie.ca
ama...@amandadawnchristie.ca
___



On 2014-10-10, at 3:06 PM, Karl Reinsalu wrote:

> You are on the right track.  In my experience you want the platter as level 
> as possible (RFS Type Platter Looper) to maintain balance.  Never let the 
> loop pull backwards and this usually results in the film binding at a point 
> in the run (not fun).  I've had instances where I have to constantly find the 
> splice and add the slack to the outer part of the loop in order to get the 
> sweet spot. Id suggest keep wrapping and adjust your front and rear feed (if 
> you can) to tweak the tension right when it stops slacking.
> 
> Best of luck!
> 
> Karl.
> 
> LIFT TECH - www.lift.ca
> 
> On Fri, Oct 10, 2014 at 1:57 PM, Amanda Christie 
>  wrote:
> hello all,
> 
> i have a bit of a looper question.
> 
> i've worked with them in the past, but not extensively... and this is the 
> first time i've run into this issue.
> 
> we loaded the 35mm looper on monday, and ran it for a bit on monday, tuesday, 
> and wednesday just to get the right balance and tension... but wednesday 
> night during the opening, it kept getting more and more slack, dipping closer 
> to the ground... so i spent the day at the gallery yesterday, with some 
> fabric on the floor watching it... because i was told that it was normal that 
> it would take a couple of full days running for it to adjust to heat and 
> humidity and find it's ideal balance... but it started getting really really 
> slack and like spaghetti on the ground... so eventually i stopped it, and 
> added another loop around the looper to take up the slack... it was fine for 
> a while... but then would fluctuate extremely... with the loop dropping down 
> to the ground, then tightening up to as tight as it would go, then back down 
> to the ground... i was hoping it would just find it's balance... but then it 
> got too tight up at the top at the loop box, and started to pop up above the 
> internal vertical rollers, so i stopped it, and removed that external loop 
> again.  now, once again it is too slack like spaghetti on the floor 
> (safely on lint free fabric though!)
> 
> should i give it a few more hours to tighten up and find it's balance, or 
> should i stop it, and wrap another loop around the outside (like i did 
> yesterday, but that was too tight), then release a loop from the inside (so 
> that it's not quite so tight)
> 
> is this because it's an older print (only 2 years old) with a few splices and 
> burns in it from previous exhibitions?  would i be better off with a brand 
> new print?
> 
> or do i just sit tight and wait for it to find it's happy place?
> 
> any advice from more experienced loopers would be much appreciated.  thank so 
> much!
> 
> 
> Amanda Dawn Christie
> 
> 506-871-2062
> www.amandadawnchristie.ca
> ama...@amandadawnchristie.ca
> ___
> 
> 
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
> 
> 
> 
> -- 
> --
> Karl Reinsalu
> e.mail: kreins...@gmail.com
> ___
> 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

[Frameworks] looper question

[Amanda Christie]

hello all, 

i have a bit of a looper question.  

i've worked with them in the past, but not extensively... and this is the first 
time i've run into this issue.

we loaded the 35mm looper on monday, and ran it for a bit on monday, tuesday, 
and wednesday just to get the right balance and tension... but wednesday night 
during the opening, it kept getting more and more slack, dipping closer to the 
ground... so i spent the day at the gallery yesterday, with some fabric on the 
floor watching it... because i was told that it was normal that it would take a 
couple of full days running for it to adjust to heat and humidity and find it's 
ideal balance... but it started getting really really slack and like spaghetti 
on the ground... so eventually i stopped it, and added another loop around the 
looper to take up the slack... it was fine for a while... but then would 
fluctuate extremely... with the loop dropping down to the ground, then 
tightening up to as tight as it would go, then back down to the ground... i was 
hoping it would just find it's balance... but then it got too tight up at the 
top at the loop box, and started to pop up above the internal vertical rollers, 
so i stopped it, and removed that external loop again.  now, once again it is 
too slack like spaghetti on the floor (safely on lint free fabric though!)

should i give it a few more hours to tighten up and find it's balance, or 
should i stop it, and wrap another loop around the outside (like i did 
yesterday, but that was too tight), then release a loop from the inside (so 
that it's not quite so tight) 

is this because it's an older print (only 2 years old) with a few splices and 
burns in it from previous exhibitions?  would i be better off with a brand new 
print?

or do i just sit tight and wait for it to find it's happy place?

any advice from more experienced loopers would be much appreciated.  thank so 
much!


Amanda Dawn Christie

506-871-2062
www.amandadawnchristie.ca
ama...@amandadawnchristie.ca
___


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Re: [Frameworks] films on film-making/unfinished films

[Amanda Christie]

my film Off Route 2 begins with myself hanging upside down in a car, but then 
the camera pulls back and reveals the film crew as i get out of the car and 
switch from the roll of victim to the roll of the director. I explain the next 
shot to the assistant director, then call cut, but the next shot that was 
discussed on camera is never actually filmed or shown on screen.

http://www.amandadawnchristie.ca/off-route-2/

the password to view any of the preview videos on my website is: previewonly


Amanda Dawn Christie

506-871-2062
www.amandadawnchristie.ca
ama...@amandadawnchristie.ca
___



On 2014-10-09, at 12:40 PM, Buck Bito - Movette wrote:

> Hi Suyash,
> 
> Joel DeMott (and 'our own' Jeff Kreines):  "Demon Lover Diary" (1980)
> 
> ---Buck Bito
> 
> Lawrence "Buck" Bito
> Movette Film Transfer
> 1407 Valencia St.
> San Francisco, CA 94110
> (Valencia at 25th St.)
> 415-558-8815
> Open Tuesday - Saturday
> Tue+Thu: 8-6, Wed+Fri: 9-6, Sat: 10-4
> www.movettefilm.com
> 
> On Wed, October 8, 2014 11:41 pm, Suyash Barve wrote:
>> hello all,
>> 
>> i am looking for reference titles that fall within the genre of films made
>> on unfinished films/films coming apart/film that is being shot or in
>> prodcution. ...
>> 
>> thank you for your time and effort to read through this notice. looking
>> forward to getting some responses!
>> 
>> S
>> ___
>> FrameWorks mailing list
>> FrameWorks@jonasmekasfilms.com
>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>> 
> 
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Re: [Frameworks] films using the optical printer

[Amanda Christie]

I'm a bit late on this thread, but quite a few of my films were done primarily 
on optical printers.


Fallen Flags - various techniques ... edited in camera on the oxberry optical 
printer using Brian Eno's oblique strategies at every transition to determine 
effect, technique, and next shot in the edit (image choice and duration)... i 
saw this film as an improvisation on the optical printer.

3part Harmony: composition in RGB #1 - colour separation 3 passes edited in 
camera on an oxberry optical printer - this was the opposite of an 
improvisation on the printer as it was meticulously planned out.

Knowledge of Good and Evil - another optical printer improvisation using 
oblique strategies

Mechanical Memory - was done on a JK optical printer

Turning was edited in camera and done on a JK optical printer (not many effects 
though)





Amanda Dawn Christie

506-871-2062
www.amandadawnchristie.ca
ama...@amandadawnchristie.ca
___



On 2014-08-11, at 9:23 PM, John Woods wrote:

> John Kneller does great work and IIRC he mainly works with 8mm that he blows 
> up using his own equipment:
> 
> http://www.cfmdc.org/user/8323
> 
> I'll also promote the work of my friend C.J. Brabant, whose colourful 35mm 
> films originated from 8 and 16mm film and he then processed and printed after 
> hours at the Vancouver Technicolor where he worked. All his works are online, 
> my favourite is "In Earth"
> 
> http://www.cjbrabant.com/
> 
> 
> On Friday, August 8, 2014 4:35:30 PM, Caryn Cline  
> wrote:
> 
> 
> Dear Frameworkers,
> 
> As always, your collective minds are amazing.  Thank you all for your 
> suggestions, lists, curricula, links and insights.  I have my work cut out 
> for me to find and screen these films, but that is one of the things I like 
> best.
> 
> What would I do without you?
> 
> CC
> 
> 
> On Wed, Aug 6, 2014 at 9:06 AM, Caryn Cline  wrote:
> Dear Frameworkers,
> 
> If I were going to undertake a series of screenings showcasing optical 
> printer techniques, what work would you recommend?  What is the best work for 
> understanding the cinematic potential in optical printing?  Are there any 
> texts that could be included?  I'm asking for my own enlightenment and to 
> take my own OP work to another level, but I might also try to put together a 
> public screening at some point.
> 
> Many thanks, as always, for your thoughts and advice.
> 
> CC   
> 
> -- 
> Caryn Cline
> Experimental Filmmaker & Teacher
> vimeo.com/carynyc
> Co-producer & cinematographer, Acts of Witness
> www.actsofwitness.com
> 
> 
> 
> 
> 
> 
> -- 
> Caryn Cline
> Experimental Filmmaker & Teacher
> vimeo.com/carynyc
> Co-producer & cinematographer, Acts of Witness
> www.actsofwitness.com
> 
> 
> 
> 
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Re: [Frameworks] times for dektol and 7363

[Amanda Christie]

My experience with Dektol and 3378 (formerly 7378) still a high-con 
orthochromatic stock, but slightly different, was always around 90 seconds.
I worked with both lomo spiral tanks, as well as spaghetti style in buckets, 
and strips wrapped around plexi glass in photo paper trays for the 90 seconds.

When using Morse rewind tanks, I found I needed more time to get the film back 
and forth evenly, so I would work with dilutions that would allow more time for 
winding back and forth and which would be more forgiving.
I don't have any of those dilutions handy here but I do know that I later 
on switched to D-19 for high contrast and would use that for 5 minutes diluted 
at a 1:5 working solution

adc


On 2014-08-04, at 3:13 PM, Beebe, Roger W. wrote:

> I’ve used Dektol with hi-con plenty, but my experience is that exposure times 
> are VERY short, definitely less than 1 min with the chemistry at room 
> temperature, even when I dilute the developer.  (It slows considerably as the 
> chemistry gets exhausted, of course.)  I rate hi-con at ASA 12 when I shoot 
> it, so that could make a difference in time to proper exposure.  Like 
> Christopher suggests, I do use a safelight with 7363 and just eyeball proper 
> exposure, but I find it VERY easy to miss the mark & end up with black film.  
> (I also process as negative, since I don’t love the idea of dealing with 
> scary bleach.)  
> 
> I’m certainly not a lab expert, but I do demos of this regularly enough with 
> my students to feel pretty confident that my results are repeatable and that 
> these very fast development times aren’t just a one-time quirk.
> 
> Can anyone else confirm this?
> Roger
> 
> 
> On Aug 4, 2014, at 2:08 PM, Chris G  wrote:
> 
>> Hi Erin,
>> 
>> 7363 is orthochromatic and is process until completion, so you can't 
>> *really* overprocess it. It is extremely forgiving in terms of time and 
>> temperature. I'd recommend processing under a safelight so you can watch the 
>> process. Using a paper developer such as Dektol will afford you a wider 
>> range of tones/greys over film developers and is a great way to play with 
>> the stock. D-19 is a high-contrast developer and will typically give you 
>> black or white with little in between. Usually I process short strands 
>> (40'/12m or less) of 7363 in trays or buckets with paper developer and a 
>> safelight until it looks "done." Guessing around 5-6 minutes at 68F/20C. 
>> I've honestly never checked the time but have had a lot of success with this 
>> method.
>> 
>> Cheers,
>> Christopher Gorski
>> 
>> On Aug 3, 2014, at 22:09, Erin Weisgerber  wrote:
>> 
>> Hello all,
>> 
>> I usually use D-19 to process 7363 to negative, but I'm thinking of trying 
>> out Dektol for this purpose.
>> 
>> Would anyone be willing to share some guidelines processing times for 7363 
>> processed to neg in Dektol?
>> 
>> How would you describe the difference in look between '63 developed in D-19 
>> compared to Dektol?
>> 
>> Thanks so much for your help.
>> 
>> Erin
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Re: [Frameworks] Modern 16mm features, distributed on film

[Amanda Christie]

well john... 2K was a budget decision... made in 2011 as i was about to start 
shooting... and i was so scared and overwhelmed by this whole new area... i did 
what i could afford

i also pulled back from frameworks a bit... and didn't ask for advice here... 
feeling somehow like ... not a traitor... that't not the right word at all... a 
defector maybe? 

i felt like asking this community for input would have been out of place... my 
last film didn't involve hand processing or optical printing, but it was still 
edited entirely on celluloid, neg cut and finished on 35mm, with no actors, and 
almost no action... destined for gallery exhibition on a loop  but even so, 
some people said it wasn't "experimental" like my earlier films... and i 
probably took that too personally, and so i had a bit of an identity crisis... 
wondering if i had sold out by having a lab process that film instead of hand 
processing it myself... so i pulled back from frameworks and for this 
latest film, which has taken the last 4 years for my life... it's such a huge 
undertaking... a 2 hour landscape film on 35mm... no commercial audience (no 
talking heads, no narrative, no people, no action)... and i worried that maybe 
it also had no experimental audience given that not only am I working with a 
lab this time, but I'm also finishing on DCP, because sound is important to 
this film (it's all about radio!), and I was scared that 35mm sound would 
dissappear before I finished... so i worried it might not have any audience at 
all (neither experimental nor mainstream) like my last film because it was in 
between the two...  but this film is really important to me, and I think it's 
an amazing historical subject (the demolition of one of the world's largest 
international shortwave radio tansmission sites thanks to conservative govt. 
budget cuts because they claim everyone has the internet now and shortwave 
radio is obsolete!... these towers served africa, europe, south america, and 
the arctic, from 1944 - 2012 and now they're gone!) so yeah... i embarked 
on this film anyway... even if it meant having to finish digitally due to my 
fear of 35mm sound disappearing before i finished 

so yeah... i went for 2K (which I could barely afford) and I pulled away 
from frameworks... feeling like a defector... now that i've jumped back in to 
reading frameworks... i'm shocked and surprised to be reading so many threads 
about codecs and such!  i guess it makes sense, given all that's happened in 
the last few years... maybe i shouldn't have pulled away... 

it is nice to see the discussion of codecs integrated with the discussion of 
experimental film... 
i remember long debates of film vs. video and people trying to keep discussions 
related to video and quicktime files off this list altogether that's kind 
of why i pulled away... for fear that if i asked about how to proceed with 
scans and DCP output... that well... that this wouldn't be the place.

anyhow... time passes 

2K was all I could afford (and I'm still about 4000$ short of paying off my lab 
bills and the sound mix!... there are post-dated cheques in the hands of the 
labs as i type this and no money to pay them)

4K would have been nice... but next time... it will be 4 perf not 4K.
even if i have to find my own projector.


xoadc


On 2014-07-18, at 5:06 PM, John Woods wrote:

> Amanda, why did you choose a 2k scan, instead of a 4k? Strictly a cost 
> savings? Seems that TVs will be 4K before we know it. Even if you were lucky 
> to afford a DI and get a 35mm print, I've heard from several lab guys that 2K 
> DIs were always a little soft compared to a traditional contact print. But I 
> would agree that a DCP is a realistic way to finish the film.
> 
> While I'm a proponent of using film as a capture medium and even went to the 
> trouble of doing 16mm prints on my last few shorts. I am realistic that as an 
> exhibition medium its pretty dead and an unnecessary cost for a DIY artist 
> without major backing or funding. Printing my 3 minute shorts is a manageable 
> cost, but to make a print of a feature film, its just a huge cost for very 
> limited venues, hence my curiosity as to who is still going to such lengths. 
> 
> 
> On Friday, July 18, 2014 1:31:43 PM, Amanda Christie 
>  wrote:
> 
> 
> speaking of 16mm films having longer life than 35mm
> 
> i had been hoping to finish my latest project, Spectres of Shortwave, on 
> 35mm... it's a 2 hour long landscape film of radio towers... but given that i 
> knew it would be at least 2 years in the filming process (as they were 
> tearing down the radio towers and i couldn't rush them, and i wanted all 4 
> seasons)... and it was right when a lot of labs were closing their 35mm labs 
>

Re: [Frameworks] Modern 16mm features, distributed on film

[Amanda Christie]

speaking of 16mm films having longer life than 35mm

i had been hoping to finish my latest project, Spectres of Shortwave, on 
35mm... it's a 2 hour long landscape film of radio towers... but given that i 
knew it would be at least 2 years in the filming process (as they were tearing 
down the radio towers and i couldn't rush them, and i wanted all 4 seasons)... 
and it was right when a lot of labs were closing their 35mm labs and theatres 
were getting rid of projectors... even though i didn't care about commercial 
theatres,  i was still worried that if i pursued a 35mm finish, that by the 
time i was ready to finish, that 35mm sound options would have dissappeared, 
and i would be screwed over by the sound aspect, and have to scan it all and 
finish digitally anyway... on a tight budget i couldn't afford risking the 
expense of workprint AND a scan if 35mm sound went bust, so i decided to scan 
everything 2k and finish to DCP... le sigh I'm at that stage right now... 
logging and editing... dealing with proxies, codecs, etc. etc while my 35mm 
intercine sites alone, unused and bereft.

i will get this one done... 
somehow...

but i swear... dammit! that my next one will be finished on a print... i 
bought a 35mm camera while making this one (with everything that was happening 
so fast in 2011 and 2012 in the industry, and with a project that would involve 
2 years of filming... it was cheaper for me to buy than rent, and cameras were 
going dirt cheap) so i own an arri 35mm bl 4...  and my next film will 
finish to film... and it will be projected... well... wherever there is a 35mm 
projector.  

(this is the voice of one frustrated with codecs and proxies)

16mm too... i want some more of that.  

xoadc



On 2014-07-18, at 4:17 PM, John Woods wrote:

> Thanks for the many replies! I'm primarily interested in films produced in 
> the 2010s. 45+ minutes in length, with an actual 16mm print struck. 
> 
> With the end of 35mm distribution in the past year, I've been wondering about 
> how much longer 16mm prints will stick around. James Benning complained about 
> the poor state of 16mm projection when he finished his last 16mm feature, RR, 
> in 2007 and switched to video.
> 
> With the abundance of compact projectors, it looks like 16mm prints will have 
> a slightly longer life than 35mm, at least as an artist's medium. There is 
> still a surprising amount of shorts being produced, but a 16mm feature seems 
> like quite a passion project and its looking like Differently, Molussia is 
> the most recent feature. 
> 
> John
> 
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Re: [Frameworks] Modern 16mm features, distributed on film

[Amanda Christie]

oh and of course!

here is why my brain created a new being from the test-tube gene-splicing of 
Barbara Sternberg and Deborah Stratman into one being 



Barbara Sternberg also has some feature length films in distribution on 
16mm 
especially if 40 min is the cut off but there are a few over 60 and 70 
minutes in her older work

2011 - In the Nature of Things... 44 min. 
2000 - Like a Dream that Vanishes - 40 min.
1997 midst - 70 min. 
1995 Beating - 64 min 
1992 Through and Through - 63 min. 1
1985 A trilogy 46 min. 



xoadc


On 2014-07-18, at 2:48 PM, Amanda Christie wrote:

> oops... my bad with the name... 
> 
> I'm in the midst of too much multi-tasking right now... 
> 
> my subconscious brain somehow conjured up a new filmmaker... an imagined 
> test-tube gene-splicing of Barbara Sternberg and Deborah Stratman into one 
> being... 
> imagine the possibilities!
> 
> xoadc
> 
> 
> On 2014-07-18, at 2:45 PM, Adam Hyman wrote:
> 
>> Some say an hour; some say 40 minutes.
>> 
>> Deborah Stratman, not Barbara.
>> 
>> Best,
>> 
>> Adam
>> 
>> 
>> On 7/18/14 11:07 AM, "Amanda Christie"  wrote:
>> 
>>> What is the cut off length for feature length?
>>> 
>>> 
>>> Barbara Stratman's "o'er the land" is 52 minutes
>>> 2009
>>> 
>>> I projected a 16mm print of it in 2010 and it is gorgeous!
>>> 
>>> http://www.pythagorasfilm.com/oertheland.html
>>> 
>>> 
>>> Amanda Dawn Christie
>>> 
>>> 506-871-2062
>>> www.amandadawnchristie.ca <http://www.amandadawnchristie.ca> 
>>> ama...@amandadawnchristie.ca
>>> ___
>>> 
>>> 
>>> 
>>> On 2014-07-18, at 1:22 PM, charlotte Lipman wrote:
>>> 
>>>> There are two feature length films by Betzy Bromberg, both distributed on 
>>>> 16mm:
>>>>  Voluptuous Sleep95 min.
>>>>  A Darkness Swallowed75min.
>>>> 
>>>>  Charlotte
>>>> 
>>>> From:  Adam Hyman 
>>>> Reply-To:  Experimental Film Discussion List 
>>>> 
>>>> Date:  Friday, July 18, 2014 9:58 AM
>>>> To:  "Patrick Friel , Experimental Film Discussion List" 
>>>> <"patrick.friel@att.netframeworks"@jonasmekasfilms.com>, Experimental Film 
>>>> Discussion List 
>>>> Subject:  Re: [Frameworks] Modern 16mm features, distributed on film
>>>> 
>>>> Re: [Frameworks] Modern 16mm features, distributed on film
>>>> Thank you for the clarification.  It still hasn’t played in LA.  
>>>> 
>>>> 
>>>> On 7/18/14 9:53 AM, "Patrick Friel"  wrote:
>>>> 
>>>>> Ben's TWO YEARS AT SEA was shot in 16mm but released in 35mm.
>>>>> 
>>>>> pf
>>>>>  
>>>>> 
>>>>>   On Friday, July 18, 2014 11:45 AM, Adam Hyman  
>>>>> wrote:
>>>>>   
>>>>>   
>>>>> 
>>>>>  
>>>>> Re: [Frameworks] Modern 16mm features, distributed on film
>>>>> Didn’t one by Ben Rivers?
>>>>> 
>>>>> 
>>>>> On 7/18/14 6:46 AM, "Warren Cockerham"  wrote:
>>>>> 
>>>>>> Let Each One Go Where He May (2009) - Ben Russell 
>>>>>> 
>>>>>> 
>>>>>> On Fri, Jul 18, 2014 at 1:50 AM, John Woods  wrote:
>>>>>>> Differently, Molussia (2012) and Empty Quarter (2011) are the only 
>>>>>>> feature length films that I am aware of that were distributed on 16mm 
>>>>>>> film in the past few years. Does anyone else know of any others? Thank 
>>>>>>> you!
>>>> ___ FrameWorks mailing list 
>>>> FrameWorks@jonasmekasfilms.com 
>>>> https://mailman-mail5.webfaction.com/listinfo/frameworks 
>>>> ___
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>>> 
>>> 
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Re: [Frameworks] Modern 16mm features, distributed on film

[Amanda Christie]

oops... my bad with the name... 

I'm in the midst of too much multi-tasking right now... 

my subconscious brain somehow conjured up a new filmmaker... an imagined 
test-tube gene-splicing of Barbara Sternberg and Deborah Stratman into one 
being... 
imagine the possibilities!

xoadc


On 2014-07-18, at 2:45 PM, Adam Hyman wrote:

> Some say an hour; some say 40 minutes.
> 
> Deborah Stratman, not Barbara.
> 
> Best,
> 
> Adam
> 
> 
> On 7/18/14 11:07 AM, "Amanda Christie"  wrote:
> 
>> What is the cut off length for feature length?
>> 
>> 
>> Barbara Stratman's "o'er the land" is 52 minutes
>> 2009
>> 
>> I projected a 16mm print of it in 2010 and it is gorgeous!
>> 
>> http://www.pythagorasfilm.com/oertheland.html
>> 
>> 
>> Amanda Dawn Christie
>> 
>> 506-871-2062
>> www.amandadawnchristie.ca <http://www.amandadawnchristie.ca> 
>> ama...@amandadawnchristie.ca
>> ___
>> 
>> 
>> 
>> On 2014-07-18, at 1:22 PM, charlotte Lipman wrote:
>> 
>>> There are two feature length films by Betzy Bromberg, both distributed on 
>>> 16mm:
>>>  Voluptuous Sleep95 min.
>>>  A Darkness Swallowed75min.
>>> 
>>>  Charlotte
>>> 
>>> From:  Adam Hyman 
>>> Reply-To:  Experimental Film Discussion List 
>>> 
>>> Date:  Friday, July 18, 2014 9:58 AM
>>> To:  "Patrick Friel , Experimental Film Discussion List" 
>>> <"patrick.friel@att.netframeworks"@jonasmekasfilms.com>, Experimental Film 
>>> Discussion List 
>>> Subject:  Re: [Frameworks] Modern 16mm features, distributed on film
>>> 
>>> Re: [Frameworks] Modern 16mm features, distributed on film
>>> Thank you for the clarification.  It still hasn’t played in LA.  
>>> 
>>> 
>>> On 7/18/14 9:53 AM, "Patrick Friel"  wrote:
>>> 
>>>> Ben's TWO YEARS AT SEA was shot in 16mm but released in 35mm.
>>>> 
>>>> pf
>>>>  
>>>> 
>>>>   On Friday, July 18, 2014 11:45 AM, Adam Hyman  
>>>> wrote:
>>>>   
>>>>   
>>>> 
>>>>  
>>>> Re: [Frameworks] Modern 16mm features, distributed on film
>>>> Didn’t one by Ben Rivers?
>>>> 
>>>> 
>>>> On 7/18/14 6:46 AM, "Warren Cockerham"  wrote:
>>>> 
>>>>> Let Each One Go Where He May (2009) - Ben Russell 
>>>>> 
>>>>> 
>>>>> On Fri, Jul 18, 2014 at 1:50 AM, John Woods  wrote:
>>>>>> Differently, Molussia (2012) and Empty Quarter (2011) are the only 
>>>>>> feature length films that I am aware of that were distributed on 16mm 
>>>>>> film in the past few years. Does anyone else know of any others? Thank 
>>>>>> you!
>>> ___ FrameWorks mailing list 
>>> FrameWorks@jonasmekasfilms.com 
>>> https://mailman-mail5.webfaction.com/listinfo/frameworks 
>>> ___
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>>> FrameWorks@jonasmekasfilms.com
>>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>> 
>> 
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Re: [Frameworks] Modern 16mm features, distributed on film

[Amanda Christie]

What is the cut off length for feature length?


Barbara Stratman's "o'er the land" is 52 minutes
2009

I projected a 16mm print of it in 2010 and it is gorgeous!

http://www.pythagorasfilm.com/oertheland.html


Amanda Dawn Christie

506-871-2062
www.amandadawnchristie.ca
ama...@amandadawnchristie.ca
___



On 2014-07-18, at 1:22 PM, charlotte Lipman wrote:

>  There are two feature length films by Betzy Bromberg, both distributed on 
> 16mm:
>  Voluptuous Sleep95 min.
>  A Darkness Swallowed75min.
> 
>  Charlotte
> 
> From: Adam Hyman 
> Reply-To: Experimental Film Discussion List 
> Date: Friday, July 18, 2014 9:58 AM
> To: "Patrick Friel , Experimental Film Discussion List" 
> <"patrick.friel@att.netframeworks"@jonasmekasfilms.com>, Experimental Film 
> Discussion List 
> Subject: Re: [Frameworks] Modern 16mm features, distributed on film
> 
> Thank you for the clarification.  It still hasn’t played in LA.  
> 
> 
> On 7/18/14 9:53 AM, "Patrick Friel"  wrote:
> 
>> Ben's TWO YEARS AT SEA was shot in 16mm but released in 35mm.
>> 
>> pf
>>  
>> 
>>   On Friday, July 18, 2014 11:45 AM, Adam Hyman  wrote:
>>   
>>   
>> 
>>  
>> Re: [Frameworks] Modern 16mm features, distributed on film
>> Didn’t one by Ben Rivers?
>> 
>> 
>> On 7/18/14 6:46 AM, "Warren Cockerham"  wrote:
>> 
>>> Let Each One Go Where He May (2009) - Ben Russell 
>>> 
>>> 
>>> On Fri, Jul 18, 2014 at 1:50 AM, John Woods  wrote:
 Differently, Molussia (2012) and Empty Quarter (2011) are the only feature 
 length films that I am aware of that were distributed on 16mm film in the 
 past few years. Does anyone else know of any others? Thank you!
> ___ FrameWorks mailing list 
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[Frameworks] contact for Chris Welsby

[Amanda Christie]

Hello all,

does anyone have current contact for Chris Welsby?
I know that he's no longer at SFU anymore, and I was just looking for  
some way to get in touch with him.


please message me off-list.

thanks so much!


Amanda Dawn Christie

506-871-2062
www.amandadawnchristie.ca
ama...@amandadawnchristie.ca
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[Frameworks] latest film project - shortwave radio towers

[Amanda Christie]

Hey there fellow film folks,

I've been laying low in the cyber discussions lately, but still making  
film work out here... Just thought I'd post a link to some info and  
clips from my latest film project... taking a new direction once  
again... my first feature length project... shot on 35mm...


'Spectres of Shortwave'   is about a short wave radio site that's  
about to be dismantled.


There is a profile on Indiegogo with video clips from some of the  
footage that I have already shot.  Still more to go.

There's also a facebook page too.  I welcome feedback and suggestions.

'http://www.indiegogo.com/projects/5868/emal/25000'

take care, and be well!

Amanda Dawn Christie

506-871-2062
www.amandadawnchristie.ca
ama...@amandadawnchristie.ca
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Re: [Frameworks] Experimental film in the Czech Republic

[Amanda Christie]

The Jihlva International Documentary Film Festival show some  
experimental work.  They have programmed some of my more abstract work  
in the past (that I certainly never considered documentary in  
nature)... so I think that their definition of documentary is very  
open.  I have never been, but would one day love to go.

http://www.dokument-festival.com/


Amanda Dawn Christie

www.amandadawnchristie.ca
ama...@amandadawnchristie.ca
___



On 1-Oct-12, at 2:52 AM, Pip Chodorov wrote:

> Of course they are not the same!
> I have been to both festivals, in Olomuc and in Zilina.
> Both festivals were good, but I prefered the town of Olomuc, and the
> programming.
> What is the name of the festival in Olomuc?
> Pip
>
>
> At 21:04 +0200 30/09/12, Marcin Gizycki wrote:
>> I hope that one day people in the West will learn that the Czech  
>> Republic,
>> Slovakia, Slovenia, and other Central European countries are not  
>> the same.
>> The Anca Fest takes place in Zilina, Slovakia, not in Olomuc, the  
>> Czech
>> Republic. The are other film festivals in Olomuc and the Czech  
>> Republic but
>> certainly not the Anca Fest.
>>
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Re: [Frameworks] Large Lightbox?

[Amanda Christie]

I agree that making your own is best, and pretty simple... I built all  
my previous light boxes, but I was recently given a most excellent  
gift from a civil engineer friend so you might want to check with  
engineering and drafting firms getting rid of old stock and government  
auctions.


my beautiful gift was a 3 foot by 4 foot light box drafting table.   
The box is basically mounted on an axle and it rotates from a vertical  
position to horizontal for whatever position the user wishes to work  
at.  wonderful design.!


apparently these are not so much in use anymore, and are starting to  
turn up at auctions.



Amanda Dawn Christie

www.amandadawnchristie.ca
ama...@amandadawnchristie.ca
___



On 24-Aug-12, at 1:21 PM, 40 Frames wrote:



Freestyle Photo now makes a 24-inch by 36-inch light box.

http://www.freestylephoto.biz/2436-Testrite-24x36-Light-Box? 
cat_id=2312


Making one custom, as someone else mentioned, might be your best  
option if you want something larger.


Alain



On Fri, Aug 24, 2012 at 8:24 AM, lizzymcalpine > wrote:

Hi
i wonder if anyone could help i am trying to get hold f a large  
Lightbox to view a huge amount of 35mm frames on - i seem to  
remember when i was at art college that the photography department  
had a huge one that was probably about 150 cm x 80 cm - I've had a  
look on eBay but can't seem to find anything - i was wondering if  
anyone had any advise about where i can find one -
i guess the next thing to do would be to build one but i would like  
to avoid this if possible.

any suggestions would be great
best wishes
Elizabeth

Elizabeth McAlpine

Studio Address

Studio 10, 10 Martello Street, London E8 3EP.

Home Address

Unit 2, 198 Blackstock Road, London. N5 1EN

Mob: 07802 29

Email: elizab...@elizabethmcalpine.com

Web: www.elizabethmcalpine.com

OCTOPUS 12: FIRST AMONGST EQUALS (PART I), REBECCA BAUMANN, LEN LYE,  
CHRISTIAN MARCLAY, ELIZABETH MCALPINE, PAUL PFEIFFER CURATOR: LEIGH  
ROBB Gertrude Contemporary, Melbourne, Australia, 13July – 18 August  
2012


A Portrait Laura Bartlett Gallery, London. 29 June- 18 August 2012  
(Solo Show)



The Map of Exactitude Laurel Gitlen New York April 29 – July 1, 2012  
(Solo Show)

Review: 
http://galleristny.com/2012/05/15/underworlds-jan-muller-at-lori-bookstein-and-elizabeth-mcalpine-at-laurel-gitlen/

Second Nature: Abstract Photography Then and Now, deCordova  
Sculpture Park and Museum, Lincoln, MA, May 26, 2012–April 21, 2013.


CINEMA Voorkamer, Lier, Belgium 11May – 8 July 2012,

http://www.laurabartlettgallery.co.uk

http://laurelgitlen.com






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--
40 FRAMES
Alain LeTourneau
Pam Minty

40 FRAMES
5232 North Williams Avenue
Portland, Oregon 97217
USA

+1 503 231 6548
www.40frames.org
www.16mmdirectory.org
www.emptyquarterfilm.org

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[Frameworks] Arri BL4 anamorphic viewfinder extension

[Amanda Christie]

Hey folks,

I've been offline for a while, and re-emerged (just in time to laugh  
at that please help kenneth anger thread!)... and I'm writing because  
I'm wondering if any one on the list knows where I can find an  
anamorphic viewfinder extension for my BL4 ?

I'm also looking for an intervelometer for the BL4 as well.

anamorphic viewfinder extension and intervelometer for BL4.

Any leads?

btw... for any of you in the Montreal area, I have a 35mm loop  
installation at Galerie Clark in the mile end district... it's up  
until October 5.


'till sooner than later,

Amanda Dawn Christie




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[Frameworks] Arri BL4 anamorphic viewfinder extension

[Amanda Christie]

Hey folks,

I've been offline for a while, and re-emerged (just in time to laugh  
at that please help kenneth anger thread!)... and I'm writing because  
I'm wondering if any one on the list knows where I can find an  
anamorphic viewfinder extension for my BL4 ?

I'm also looking for an intervelometer for the BL4 as well.

anamorphic viewfinder extension and intervelometer for BL4.

Any leads?

btw... for any of you in the Montreal area, I have a 35mm loop  
installation at Galerie Clark in the mile end district... it's up  
until October 5.


'till sooner than later,

Amanda Dawn Christie




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Re: [Frameworks] Winnipeg?

[Amanda Christie]

Winterpeg is Wonderful!

(I don't live there, but I love going there when I can).

Dear programmers... don't forget that there are two distributors in  
Winnipeg:

1) WFG Winnipeg Film Group
2) VideoPool

Dear filmmakers... don't forget that there is a cinematheque and a  
festival in Winnipeg:
1) Winnipeg Cinematheque  (located with the WFG and also has a  
production centre)

2) WNDX experimental film and video festival.

check out their catalogues and programming.

(those are in addition to the many other wonderful distributors in  
Canada, the US, and around the world... I was just thinking of these  
Winnipeg folks thanks to Tom's happy message to Winnipeg... this is a  
topical response that's all... no favouritism here... no  
favouritism just topical) :)


Winterpeg is a great place to visit!  (but do it in the summer)  :)

Be well,

Amanda Dawn Christie

506-871-2062
www.amandadawnchristie.ca
ama...@amandadawnchristie.ca
___



On 21-Feb-12, at 6:46 PM, Tom Whiteside wrote:

Hey Winnipeg, it’s Durham calling. We had so many films (eight) from  
your fair city at the recent Strange Beauty Film Festival that I  
just had to comment on it. Everyone was talking about it over the  
weekend, and each screening opened with a short YouTube yoo-hoo (or  
something like that) from Manitoba. Clever festival organizers had  
made contact early so we had plenty of Winnipeg swag. I got a key  
chain. And there was a haiku contest with a nice hockey jacket as a  
prize, I’m not sure who claimed that one, but I know that the  
competition was somewhat vicious for a poetry contest.


Anyway, just wanted to check in, say hello, and point out the fact  
that is was 17.7 degrees Celsius in Durham on Saturday. Howzit up  
your way? Come see us!


-  Tom Whiteside Durham, North Carolina


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Re: [Frameworks] I can´t sleep

[Amanda Christie]

Barbara Sternberg's TRANSITIONS
1982, 16mm, 11:30

Transitions” is a film of inner life and speaks of time, reality,  
power. It depicts the disquieting sensations of being between -  
between falling asleep and being awake, between here and there,  
between being and non-being. These metaphysical themes are evoked by  
the central image of a woman in white over which layers of images and  
sound (voices) are superimposed.

available from the cfmdc: http://www.cfmdc.org/node/1446
--

i have seen the film several times and it is an absolutely incredible  
film!  one of my favourites.  lots of optical printing... images of a  
woman tossing and turning in tangled sheets on a bed, sitting on the  
edge, smoking a cigarette, other images as well, repetitive  
superimpositions and the sound track is filled with layers of whispers  
some of which emerge more than others... i seem to recall the  
recurring phrase "i can't go to sleep"  or something like that it  
is such an evocative and powerful film, especially for anyone who has  
ever spent a night laying half awake, half asleep.

adc




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[Frameworks] eyemo question

[Amanda Christie]

Hey folks,

I have a question about eyemo cameras...

if I buy an eyemo camera will i likely be able to find anamorphic  
lenses for it?  any leads?
also... does anyone know if they can be machined or set up to shoot 2  
perf 35mm instead of 4 perf?

just curious...

also if anyone has experience shooting with eyemos and would like to  
share thoughts on the camera, that would be most appreciated.


Amanda Dawn Christie

506-871-2062
www.amandadawnchristie.ca
ama...@amandadawnchristie.ca
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Re: [Frameworks] Analog and digital

[Amanda Christie]

i am late to the discussion here... just a quick note to add my few  
cents.

A)  when I think analog and digital, the first thing that comes to  
mind is that analog = analagous ...  and that an analog process is  
like a straight or curved line whereas a digital process is like a  
series of steps.  (imagine a fantastic drawing or diagram of each  
here).  I won't explain anymore , because others have done so much  
more eloquently already in the preceding discussion.

B).  FLICK!  FLICK HARRISON!   what an amazing reply... I love it!  I  
read the whole thread and I think your response sums it up nicely.  I  
know that in "frameworks-digital-e-communication-land" sometimes our  
exchanges have been on the more contentious side... but you often post  
great things, and I usually only reply to the things that incite  
contestation... and I want to make sure to reply to the things that  
make me go "YEAH!" as well.  so ... "YEAH!"   and I always enjoyed our  
in-person discussions back in Vancouver... and yeah... I just wanted  
to quickly post and say that I enjoy your frameworks posts too... even  
though often my responses only get typed in moments of "HEY WAIT A  
MINUTE!"   rather than in moments of  "YEAH!"  ... so needless to  
say... this is a moment of "YEAH!"

which seems to relate to many other threads I read tonight (I had over  
400 emails to catch up on) that seems to be a trend among many of  
us on the list...

C) (on frameworks listserv itself... notsomuch on digital vs analog)
I assume (and probably I shouldn't assume anything) that many of us  
have lots on the go, and read what we can, when we can, from the  
list and occasionally something strikes us and we write "HEY WAIT  
A MINUTE"   and often it comes late at night after marking too  
many essays or drinking too much whiskey... and it seems good and  
coherent at the time then someone else on the list reads it a few  
hours later in a different state of mind and then they write... "HEY  
WAIT A MINUTE"   to something we didn't even intend after grading  
all those papers and drinking all that whiskey... and before we know  
it, there is a whole new thread on feminist films shot on discontinued  
kodak stocks processed in coffee and transferred to video and  
projected on 3D DLP projectors with 3 blade shutters and it goes on  
for days... and oh my god!  (wait... where was I?) oh yes
this listserv.  I think it is amazing!  I think we sometimes take it  
for granted.  We get annoyed with threads that we aren't interested  
in.  We sometimes respond flippantly or perhaps carelessly to things  
that excite our passions in certain states of mind. And amazing  
discussions result from the places we least expect.   (when I say  
"We"  I don't necessarily mean "ALL" of us... but I know that "I" do  
this... and I think can I safely say that I have observed some of you  
do it too.).  And I think it is wonderful, in the fact that incredible  
discussions wind up resulting from the most unlikely places (this  
thread is not one of them... but I am on a tangent here... and it  
feels like a good one... so I'm gonna run with it) (where was I?)   
oh yes!  Frameworks... the listserv... the other thing... the  
archive many of us write these comments and responses in various  
states of mind... knee jerk reactions and passionate replies...  
sometimes forgetting... that it all gets archived every one liner  
sarcastic response... every snippy come-back... every jab... every  
dig... every deep philosophical question... every technical chemical  
formula... every list of films and authors to look into... it gets  
archived so on one hand... we (c)should perhaps be more cautions  
and conscientious before putting keystroke to screen (i am writing  
this as much for myself as for anyone else)... but at the same time...  
i think it is a marvelous and wonderful thing that all of these  
spontaneous emotional reactions and replies get archived for however  
long the harddrives will store these digital (non-analog) bits of  
data... for the researchers and historians to come.  it is  
simultaneously frightening and incredibly beautiful!

(i am on a train right now, and have had a bit to drink while reading  
through 400 frameworks messages... so it's a bit of an overload...  
hence that last bit... but yeah... i mean... YEAH!)

adc



Amanda Dawn Christie

506-871-2062
www.amandadawnchristie.ca
ama...@amandadawnchristie.ca
___



On 27-Aug-11, at 10:12 PM, Flick Harrison wrote:

> As for the retroactivity of defining film as analog, I'd say, if the  
> word "digital" is a late arrival to film theory, you might consider  
> that counting on your hands (the original digital system) is pretty  
> old, even by the standards of the oldies around frameworks...
>
> I'd call film analog because each grain is exposed to a  light of  
> varying colour an

[Frameworks] 35mm camera and anamorphic lenses for sale?

[Amanda Christie]

hey everyone,

while i'm at it... does anyone have any leads on 35mm cameras and-or  
anamorphic lenses for sale?

i'm thinking of buying one... non-sync sound... even old russian  
models will suit as long as it works...


thanks,

Amanda Dawn Christie

506-871-2062
www.amandadawnchristie.ca
ama...@amandadawnchristie.ca
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Re: [Frameworks] Dance films

[Amanda Christie]

I made a colour separation dance film back in 2006 called 3part  
Harmony: Composition in RGB #1.
There has already been a discussion on this list about it once when  
someone was asking about the optical printing techniques that I used.

A preview of the film can be seen on the lightcone website : 
http://www.lightcone.org/en/film-4886-3part-harmony-composition-in-rgb-1.html
In addition to Lightcone in Paris, this film is also distributed by  
the CFMDC in Canada


While working on my MFA a lot of my studies centred around dance and  
film... the relationship between the body on screen and the projected  
image in live performance as well as the relationship between the  
analog machine and the human body and how physical interaction with  
post-industrial machines excites sensory memories.  My thesis project  
paper can be found as a PDF online... http://summit.sfu.ca/item/8050
...hrmmm... I just read that the author apparently put restrictions on  
the PDF so it can't be copied or printed... I don't remember doing  
that, but I must have... I don't remember why.  If anyone is  
interested in a copy of it, just give me a shout.  ... wait... i just  
tested it... and I was able to download the full 104 page pdf so  
it should be accessible if you want it.  if you want it and have  
trouble downloading it from SFU, then just drop me a line off list.


here is the abstract of the text...  the full pdf is 104 pages  
including  7 pages of sources at the end (bibliography and works  
consulted) which might be of interest to anyone studying dance and film:


Sensuous machines: embodied mechanics of cinematic performances

Abstract:

This essay will chart a geography of machines, bodies, and memories  
that is broad and far-reaching. The reader will travel through this  
terrain along a single winding path, via the tracks of film machines  
and dance machines (human bodies), taking extra time to pause,  
breathe, and reflect where the two intersect. A description of  
sensuous geographies as mediated through engagement with anachronistic  
machines (such as trains and film equipment) will prepare the reader  
for a journey in which the human body becomes implicated and  
integrated with the mechanical body. The impact of the machine on the  
body of the operator leaves traces that trigger memories; the human  
body itself becomes a machine in performance that excites memories in  
both the performer and the viewer. Our journey ends with the ephemeral  
and fleeting nature of these machines and media that are preserved in  
the transparence of our senses and memories.







Amanda Dawn Christie

506-871-2062
www.amandadawnchristie.ca
ama...@amandadawnchristie.ca
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