Re: [Frameworks] JK 104 optical printer for sale!

[George, Sherman]

Martha,
Where is the printer located?
Sherman George

On May 27, 2020, at 2:26 AM, Martha Jurksaitis 
mailto:cherryk...@gmail.com>> wrote:

Hello Beautiful Frameworkers!

I have for sale a beautiful JK optical printer with Gossen probe, Super 8 and 
16mm gates, prism, animation motor, and manual controller. I’ve moved with my 
little boy onto a bus and am becoming more minimalist in my approach so I have 
decided to sell it. I also have a 4 plate Steenbeck on wheels.

The JK was sold to me by the East Anglian Film Archive who had by their own 
admission hardly used it, only for an occasional damaged film. I’ve attached 
photos of the JK. It’s a K104. Everything in the sale is in the photos. I will 
just hang on to the lightmeter.

A few things of note:

The glass on the voltmeter is (and always has been) cracked, which prevents the 
needle showing the voltage, I just worked around it but I imagine it can also 
be fixed.

The frame counter needs adjusting as it doesn’t engage quite well.

There is a tiny screw missing to mount the lamp extension to its body. Probably 
very easy to replace I just never needed to but it is unsteady so probably a 
good idea.

The Gossen probe is a little moth eaten on the outside (a bit of the rubber in 
small patches) but I don’t think it affects how it works.

The power source works fine you just need to put something heavy on it to curb 
the noise, I used to use a book!

I will keep the lunasix light meter but will include the probe!

I’m posting because I want to sell to the highest bidder (naturally!) and would 
love to hear offers. It is fully working. I used it pretty minimally, to make 
about 4 films. I do absolutely love it. I would love it if whoever it goes to 
would be ok with me visiting sometime to use it :)))
Also a great chance to connect with like-souled film lovers!

Warmest,

Martha / Cherry Kino

X

<5104737C-32D6-4F9C-A3C5-6C9155010D88.jpeg>
<4BE3D52A-1564-4BD3-B847-D57A4B2DAA55.jpeg>
<7CD753B2-B9CC-40B6-A778-EF1D487B8C46.jpeg>
<5E807A36-D841-4A3C-9081-7FB0A914DADC.jpeg>



<64E6F7D3-0430-47A0-BF23-339792802B81.jpeg>
<02CCD781-425C-4FD1-A783-8490BAB5FFA6.jpeg>





<9B5D0529-F0B8-43AA-A91C-789B52820E0A.jpeg>

<6AD6813E-B595-4419-A0F1-A838135F7F39.jpeg>




--
Martha Jurksaitis
Analogue Film & Photography Artist
www.cherrykino.com

M: 07935 916 560
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Re: [Frameworks] 1. when was the film splicer invented? (mstark...@gmail.com)

[George, Sherman]

The Griswold cement film splicer was patented in 1922 and was the first splicer 
I used  in the early 1960’s

Inventor
Griswold Frederick Clark

Worldwide applications
1922  US

Application US545785A events
1922-03-22
Application filed by Olive A 
Griswold
1922-03-22
Priority to US545785A
1923-08-07
Application granted
1923-08-07
Publication of US1464265A
1940-08-07
Anticipated expiration
Status
Expired - Lifetime


On Apr 23, 2020, at 7:34 AM, mstark...@gmail.com 
wrote:

Hey everyone,

Thanks for your responses.

Thanks for confirming that the razor blade icon in Final Cut Pro and Premiere 
most likely relates to video tape editing.  I have since also found in Lennie 
Lipton’s book 'Independent Filmmaking' an image and description of a splicing 
block for 16mm film which was designed to be used with a razor blade.

I still can’t find a clear date anywhere for when splicers were introduced to 
cutting rooms (this information may be in a book about editing in a library i 
now can’t access!). It seems like histories of editing deal with the editors, 
films and techniques rather than the specific tools in the cutting rooms…which 
is what i’m fascinated by.

Regards cutting film with scissors, John Burder's book ’Technique of editing 
16mm film’ states that before splicing film, it should be marked with 
chinagraph pencil and then cut with scissors, which he says are a basic item of 
cutting room equipment. He specified that brass scissors are most suitable 
because they are anti-magnetic and won’t impair the quality of magnetic 
soundtracks. It doesn’t seem like using a cutting film with a razor blade on a 
splicing block and cutting film with brass scissors were common practice 
though? Has anyone experience of either of these?

Hey Robert Withers - regards Peter Kubelka cutting with scissors if you are 
interested see below -

Kubelka explains his artistic formation: “The material itself taught me how to 
make films.” He’s sitting at his wooden kitchen table, tackling the 35mm film 
strips with scissors and glue.
filmcomment.com/article/peter-kubelka-frame-by-frame-antiphon-adebar-arnulf-rainer/
 
[filmcomment.com]

and this https://www.bfi.org.uk/news/materiality-film-peter-kubelka 
[bfi.org.uk]

Austrian-born Peter Kubelka is a filmmaker, architect, musician, curator and 
lecturer whose work explores the understanding of film as a material and 
factual affair. His films are not available digitally and to see them on the 
big screen is a rare opportunity. The experience of seeing his films is 
spellbinding and at the same time descriptive, like seeing a tailor’s work in 
progress: film cut by hand with scissors and then glued together. For him film 
is nearer to sculpture.

All best,

Mary

On 20 Apr 2020, at 22:09, Robert Withers 
mailto:withe...@earthlink.net>> wrote:



When I was working with 16mm film in the late ’60s we used two kinds of tape 
splicers for work print:
the ”Guillotine,” which cut with a metal side blade and the ”Rivas,” which cut 
with a metal blade and usually cut the splicing tape with a serrated plate on 
top of the splice in the middle of the frame. Pennebaker and maybe others 
redesigned Rivas splicers by attaching a small razor cutter that would cut the 
tape on the frame line, making a more-or-less ”invisible” splice.
I think a Guillotine splicer was used in 35mm also.
For a permanent glue splice a ”hot splicer” was used in both 16mm and 35mm, 
which cut a frame with a metal block. You would lose a frame with each splice 
and the splice was visible unless used with black leader in the ”A & B roll” 
contact printing system.
What happened between the 1920s and the 1960s? I’ve seen that picture of 
Elizaveta Svilova but I’m curious about Peter Kubelka.
Cheers,
Robert

Robert Withers
withe...@earthlink.net




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Re: [Frameworks] 1. when was the film splicer invented? (mstark...@gmail.com)

[George, Sherman]

There was also a “guillotine” that cut an an angle for sound tracks. That way 
the splice didn’t “pop” when the track crossed the play head.
Sherman


On Apr 20, 2020, at 2:09 PM, Robert Withers 
mailto:withe...@earthlink.net>> wrote:

When I was working with 16mm film in the late ’60s we used two kinds of tape 
splicers for work print:
the ”Guillotine,” which cut with a metal side blade and the ”Rivas,” which cut 
with a metal blade and usually cut the splicing tape with a serrated plate on 
top of the splice in the middle of the frame. Pennebaker and maybe others 
redesigned Rivas splicers by attaching a small razor cutter that would cut the 
tape on the frame line, making a more-or-less ”invisible” splice.
I think a Guillotine splicer was used in 35mm also.
For a permanent glue splice a ”hot splicer” was used in both 16mm and 35mm, 
which cut a frame with a metal block. You would lose a frame with each splice 
and the splice was visible unless used with black leader in the ”A & B roll” 
contact printing system.
What happened between the 1920s and the 1960s? I’ve seen that picture of 
Elizaveta Svilova but I’m curious about Peter Kubelka.
Cheers,
Robert

Robert Withers
withe...@earthlink.net




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[Frameworks] Free Showchron editor for parts

[George, Sherman]

Showchron 16-1P-2S available for parts with manuals. Must be picked up in San 
Diego CA. Missing picture prism
Contact 
Sherman George
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Re: [Frameworks] Eclair NPR

[George, Sherman]

I am late to this discussion but have you checked the power cable and the fuses 
in the battery and the motor. If the fuse in the motor is blown then the motor 
has real problems 
Make sure the motor is getting power first.
Sherman
 
> On Feb 19, 2020, at 7:56 AM, mariah garnett  wrote:
> 
> Thanks Scott,
> It has a crystal sync motor. Does this mean I could just take it to an analog 
> camera store or repair shop in LA?  That’s where I’m based and would rather 
> not have to ship it anywhere...
> 
>> On Feb 19, 2020, at 6:59 AM, Scott Dorsey  wrote:
>> 
>> Which motor does it have?  I am presuming the motor is the issue?  There
>> are probably more different motors available for the NPR than any other
>> camera made.  If it's one of the crystal sync motors, the electronics on
>> them aren't hard to work on and most of what goes bad are electrolytic
>> capacitors.  If it's a wild DC motor, before doing anything open up the
>> brush compartments and make sure the brushes are in good condition.  Always
>> keep spare brushes on hand.
>> --scott
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Re: [Frameworks] FRONT FEET for Eiki projector

[George, Sherman]

Luis,
There is a US Eiki parts department
eiki.com
800-242-3454
Sherman

On Feb 3, 2020, at 12:19 AM, luis ? 
mailto:mabaluf...@gmail.com>> wrote:

Hello Frameworkers,

anybody know where could I find the front feet for EIKI Projectors?

I´m sending a still of the broken piece.

Thanks
-
Luis Macías
http://luismacias.es/



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Re: [Frameworks] Liquidation sale!

[George, Sherman]

Details on the camera please
Sherman George


On Nov 17, 2019, at 1:28 PM, Nicole Baker 
mailto:neba...@pnca.edu>> wrote:

Hello frameworkers!
I am moving overseas to Nur-Sultan, Kazakhstan (from Oregon, USA) as such, I am 
liquidating most of my film gear, as it's just too heavy to travel with (I plan 
to pick up a Krasnogorsk 3 while I'm over there!)
I have:
16mm camera with 2 primes and a zoom
16mm Craig/Kalart editing set-up (splicer+viewer set in a handy carrying case)
Elmo 16mm slot load projector with optical sound, cover, extra reels
Bolex Super 8 camera
various splicing tape, cores, daylight spools, leader, developing supplies, etc.

Please shoot me an email for details!
Thanks everyone.

Nicole Elaine Baker
MFA in Visual Studies, 2019
Pacific Northwest College of Art
Hallie Ford School of Graduate Studies
www.magiklantern.com


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Re: [Frameworks] Laser Cutter Recs

[George, Sherman]

Kelsey,
Laser cutters work by generating high temperatures. That might cause problems 
cutting paper.
 
> On Sep 21, 2019, at 6:44 PM, Kelsey Velez  wrote:
> 
> Hello listserv,
> 
> I’m looking for recommendations for affordable, compact laser cutters. I’ll 
> be cutting through poster board. I know ya’ll use ‘em for burning off 
> emulsion. Also any advice about using a laser cutter is welcome.
> 
> Thanks,
> Kelsey
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858-229-4368



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Re: [Frameworks] Hand made contact printer

[George, Sherman]

In the video world 15 mm rods spaced 60 mm apart are a low cost modular support 
system with a variety of platforms to mount a variety of parts.
Check
 smartrig.com
 to get a idea of the versatility of the 15 mm support system.
The rod and platforms are available from a variety of companies and parts from 
various companies are, for the most part, are interchangeable.
Sherman
On Aug 16, 2019, at 3:55 PM, Sandy McLennan 
mailto:smclenn...@gmail.com>> wrote:

I wish to get some rods with sliding blocks like that (for the camera and the 
lens). From what/where did you get the rods and blocks part shown in the photo?
thanks,
Sandy McLennan
Huntsville, Ontario, Canada


On Fri, Aug 16, 2019 at 2:50 PM 
mailto:mhoyleco...@yahoo.com>> wrote:
Hi everyone,

I'm in the beginning stages of making a "rat rod" or homemade contact printer 
with parts from tossed toy projectors and a Beseler photo enlarger. My camera 
is a Cine Kodak Special. I was wondering if there was anyone else out there who 
had attempted or succeeded in such a feat, and if they could give me tips on 
where I could go next or what improvements I could make. I've attached a photo 
for all to see what I've done so far.

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Re: [Frameworks] Hand made contact printer

[George, Sherman]

Are you building an optical printer or a contact printer?
Contact me off list. I may be able to help.
Sherman George
sgeo...@ucsd.edu

On Aug 16, 2019, at 11:50 AM, 
mhoyleco...@yahoo.com wrote:

Hi everyone,

I'm in the beginning stages of making a "rat rod" or homemade contact printer 
with parts from tossed toy projectors and a Beseler photo enlarger. My camera 
is a Cine Kodak Special. I was wondering if there was anyone else out there who 
had attempted or succeeded in such a feat, and if they could give me tips on 
where I could go next or what improvements I could make. I've attached a photo 
for all to see what I've done so far.

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[Frameworks] Arri animation Motor

[George, Sherman]

Wil the person who posted the question about the Arri animation motor please 
contact me off list.
I may be able to help.

Sherman George
sgeo...@ucsd.edu
858-229-4368



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[Frameworks] Mitchell 16 mm camera manual

[George, Sherman]

Free to a good home.
Handbook No. M-200
Mitchell 16 mm camera operation and service instructions.
This is a photocopy but complete.
Contact me off list if you are interested.

Sherman George
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[Frameworks] Apron for Kodak Film Tank

[George, Sherman]

Does anyone have a source for a replacement apron for a Kodak Film Tank circa 
1916.
The tank is a 5 inch model.
Any lead would be helpful
Thanks
Sherman George
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Re: [Frameworks] NYC Flash sale!

[George, Sherman]

Any estimate on the Magnasync synchronizer/viewer? 
Can you pack and ship to Ca.?
Sherman George
sgeo...@ucsd.edu


> On Mar 20, 2019, at 11:42 AM, Negativeland  wrote:
> 
> Hey Frameworkers,
> 
> Just a quick announcement that we're selling off a few items at the
> lab to make room for new items. All items are for local pick up at our
> Ridgewood space.  Have a look at the pic below!
> 
> Some of the more interesting items:
> 
> -Frezzolini 16mm magnetic sound camera
> -Sync block with viewer
> -16mm Bolex cameras--Various non-reflex, one with a separate reflex zoom lens
> -Various c-mount lenses
> -Mountains of cores
> -Bolex accessories, ie. pistol grips, rewind keys etc
> -Various untested expired 16mm film
> -Split reels
> -400ft mitchell magazines
> -Parts for two still b/w Omega enlargers
> 
> Give us a call or email if you have any questions, or just stop by to
> have a look.
> 
> We're at 1717 Troutman Street #244 Ridgewood, NY 11385
> open 11-6 Mon-Friday.
> T: 917-975-0473
> email: negativelandf...@gmail.com
> 
> 
> Thanks for reading!
> 
> Negativeland
> 
> 
> 
> 
> 
> 
> 
> -- 
> Negativeland
> 1717 Troutman Street
> Suite #244
> Ridgewood, NY 11385
> (917) 975-0473
> www.negativelandfilm.com
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[Frameworks] Kodak Model A

[George, Sherman]

Does anyone have a recomendation for a repair service for a Kodak Model A 16 mm 
camera (circa 1923) 

Sherman George
sgeo...@ucsd.edu
858-229-4368



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Re: [Frameworks] Optical Printer lamps

[George, Sherman]

You might consider using a  photo enlarger lamp house. With the decline in film 
based photography used enlargers are very reasonable on the used market. I 
purchased a 4x5 enlarger with a three color lamp house for my last printer for 
$ 60.00.
As a plus you may get a reasonably high quality printing lens included.
Sherman

> On Nov 4, 2018, at 10:34 AM, Morgan Hoyle-Combs  wrote:
> 
> Hello everyone. 
> 
> I was planning to make my own optical printer with my Cine Kodak Special and 
> a toy 35mm projector, but I'm in need of a lamp. I know that JK kits have an 
> adjustable brightness knob on their lamp and the bulb they use is MR16 watt. 
> Anybody know where I could buy a lamp? What should I look for? Or could use a 
> different light source? 
> 
> Thanks
> 
> M
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Re: [Frameworks] Help: 16mm looper to rent - East Coast Options!

[George, Sherman]

Standish Lawder’s “Runaway”  The Mobius Film
On Jul 19, 2018, at 5:27 PM, Christopher Ball 
mailto:cbifi...@gmail.com>> wrote:

Robert Film Services in Montreal makes custom loopers.

Sent from my BlackBerry - the most secure mobile device - via the Rogers Network
From: neba...@pnca.edu
Sent: July 19, 2018 21:22
To: frameworks@jonasmekasfilms.com
Reply-to: frameworks@jonasmekasfilms.com
Subject: Re: [Frameworks] Help: 16mm looper to rent - East Coast Options!


That is frickin' brilliant.  I once made a contained loop the right length to 
just run through the projector and across the reels on its own, but it was so 
short it was only a few seconds of footage.

Looked really cool though.

Nicole Elaine Baker
MFA in Visual Studies, 2019
Pacific Northwest College of Art
Hallie Ford School of Graduate Studies
www.magiklantern.com



On Thu, Jul 19, 2018 at 9:41 AM, jimmyschaus1 
mailto:jimmysch...@gmail.com>> wrote:
Just ran the loop through a regular 16 projector and had the extended arm of a 
mic stand placed a couple feet behind the projector, perpendicular to it, and 
looped the back part of the loop around that.  Adjust the distance of the stand 
from the projector to effect the tautness.  Made one big loop that went round 
and round.  Took a cue from audio tape looping techniques I've seen at 
experimental music gigs lol.  Just put another object somewhere that can take 
up the slack and voila.

Not the safest bet--the material the mic stand's made out of isn't abrasive but 
also its not designed for celluloid running smoothly over it for hours on end.  
You could end up with some scratches.  But if you really want to do the loop 
and can't acquire a proper looping projector, it works.

On Thu, Jul 19, 2018 at 11:20 AM, Nicole Baker 
mailto:neba...@pnca.edu>> wrote:
Hey Jimmy Schaus,
Could you elaborate on how you set that up?  It sounds like a really useful 
trick!

Thanks!




On Thu, Jul 19, 2018, 8:54 AM jimmyschaus1 
mailto:jimmysch...@gmail.com>> wrote:
I used the arm of a mic stand to take up the slack of the loop and just a 
regular 16 projector for an art show once, worked pretty well!

On Thu, Jul 19, 2018 at 9:37 AM Margaret Rorison 
mailto:margaret.b.rori...@gmail.com>> wrote:
Dear Friends,

A student of mine is looking to show a 16mm film in a Juried show at her school 
in Baltimore, MD.

Can you recommend any professional places that would rent a looper for a 
reasonable price.

​I have a beautiful handmade looper made by Kenny Curwood- but I am not able to 
lend this and wanted to see what other options there are for renting one for a 
couple of weeks.

thanks!
Meg​

---
http://margaretrorison.com/
http://sightunseenbaltimore.com/

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Re: [Frameworks] Moviola six plate flatbed

[George, Sherman]

Where is it located?


Sent from my iPhone
Sherman George
858-229-4368


On Jun 1, 2018, at 10:48, Dominic Angerame 
mailto:dominic.anger...@gmail.com>> wrote:

I have a VINTAGE Magnasync Moviola M-77-16 16mm Flatbed Film Production Console 
Editor StationModel: M-77-16 for sale to folks on this list for $75 or if 
anyone here can repair I will pay the costs.

There are many cosmetic marks due to age of machine and usageI had been using 
this machine up until recently when all of a sudden it stopped. The torque 
motors will not turn. The screen lights up and the power turns on. I have no 
idea how to fix it.

Unit powers on Control panel buttons, knobs and switches are all intact. Rear 
panel connectors and other unit components are intact. Monitor screen light 
turns on

I am selling this as is.

MUST BE PICKED UP or buyer arranges shipping.

. (L" x W" x H"): 39-1/2 x 61-1/4 x 51 Weight: HEAVY

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Re: [Frameworks] Showchron editor

[George, Sherman]

Todd,
Thanks for your response. I received a PDF of the manual earlier today. This 
list is a really good resource.
I am trying to decide if it is reasonable to turn the editor into a film to 
video transfer device.
Sherman


On Feb 10, 2018, at 6:51 PM, todd eacrett 
<hell...@agit-prop.com<mailto:hell...@agit-prop.com>> wrote:


I have the user manual, which I'm pretty sure includes a wiring diagram. I can 
send a high res photo of it when I'm back in the studio next week. What problem 
are you trying to fix?

Cheers,

Todd Eacrett

On Sat, 10 Feb 2018 15:38:55 +0000, "George, Sherman" wrote:

Does anyone know where I can obtain a wiring diagram/service manual for a 
Showchron editor?

Thanks for any leads.

Sherman George
sgeo...@ucsd.edu<mailto:sgeo...@ucsd.edu>
858-229-4368



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[Frameworks] Showchron editor

[George, Sherman]

Does anyone know where I can obtain a wiring diagram/service manual for a 
Showchron editor?

Thanks for any leads.

Sherman George
sgeo...@ucsd.edu
858-229-4368



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Re: [Frameworks] anamorphic lens on an Eiki EX

[George, Sherman]

Jared,
The anamorphic mount on your projector is designed for the Eiki anamorphic 
lens. It has the proper sized barrel to fit in the bracket.
Perhaps you can find a one to one trade for the proper anamorphic.
Sherman


On Feb 7, 2018, at 10:48 PM, jared ashburn 
> wrote:

Hello,

Could someone provide documentation or advise me on how best to install an 
anamorphic lens on an Eiki EX-5500? I don't see how either of these lenses 
could fit the lens bracket on the projector but thought someone here might know 
if there is any way to get it to work. Thanks! -Jared








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Re: [Frameworks] UCLA tenure track Experimental/Emergent media job

[George, Sherman]

Steve
Don't you dare apply for this position!

Sent from my iPhone
Sherman George
858-229-4368


> On Nov 24, 2017, at 16:00, Anderson, Steven  wrote:
> 
> Please help circulate! 
> https://recruit.apo.ucla.edu/apply/JPF03396
> 
> UCLA Assistant Professor of Experimental and Emergent Media 
> Cinema & Media Studies Program
> Department of Film, Television & Digital Media
> School of Theater, Film & Television
> Job #JPF03396
> 
> Application deadline: December 22nd, 2017
> 
> Job Description: UCLA TFT Assistant Professor of Experimental and Emergent 
> Media 
> The UCLA Department of Film, Television and Digital Media seeks to fill an 
> Assistant Professor, tenure track professor position in Cinema and Media 
> Studies with expertise in critical and historical approaches to experimental 
> and emergent media in film, television, video, and digital media.
> 
> The Department encourages work that aims at social impact. We see 
> non-traditional, alternative, and innovative, media as a critical interface 
> between media studies and practice. Such media has often catalyzed innovation 
> in narrative form. Thus, we are interested in candidates whose work resonates 
> with the areas of MFA programs in the FTV Department: Animation, Digital 
> Media, Production, Producers and Screenwriting. We especially encourage 
> applications from candidates whose interests include documentary, media arts, 
> avant-garde, interactive work, development of archival resources from 
> underrepresented communities, and/or digital media production.
> 
> The Cinema and Media Studies (CMS) Program places an emphasis on 
> “intermediality” across historical, contemporary, and applied research in our 
> field. We understand intermediality as an approach that is attentive to the 
> complex relations existing across media texts, platforms, industries, and 
> cultures. CMS supports a broad array of critical interests, training students 
> to engage with and work across several disciplinary axes:
> 
> • Participatory, rigorous archival, or data-driven research
> • Critically informed approaches to the analysis of texts and the cultural 
> formations within which they are produced and circulated
> • Applied research within professional and policy arenas for media
> • Emerging modes of videographic and digital scholarship
> 
> The University of California, Los Angeles, and the Department of Film, 
> Television, and Digital Media are interested in candidates who are committed 
> to the highest standards of scholarship and professional activities and to 
> the development of a campus climate that supports equality and diversity. 
> Women and minorities are encouraged to apply.
> 
> Application information: Applicants must have a PhD in film studies, media 
> studies, area studies, or a related discipline. The department is searching 
> for applicants who have a demonstrated commitment to diversity and social 
> change and who are able to teach and advise broadly across the Cinema and 
> Media Studies core and elective curriculum.
> 
> Please submit an electronic version of your CV, the names of 3 references who 
> may be contacted regarding your application, a statement of teaching goals 
> and experience, a statement of contributions to diversity, one published 
> article or book chapter (no more than 40 pages) and a cover letter of no more 
> than 3 pages that illustrates your particular suitability for the position. 
> Please address your materials to Professor Steve Anderson – Chair of the 
> Search Committee.
> 
> Application Deadline: Applications should be received by December 22nd, 2017
> 
> The University of California is an Equal Opportunity/Affirmative Action 
> Employer. All qualified applicants will receive consideration for employment 
> without regard to race, color, religion, sex, sexual orientation, gender 
> identity, national origin, disability, age or protected veteran status. For 
> the complete University of California nondiscrimination and affirmative 
> action policy see: UC Nondiscrimination and Affirmative Action Policy.
> 
> The vision of the School of Theater, Film and Television is to serve as a 
> premier interdisciplinary global professional school that develops 
> outstanding humanistic storytellers, industry leaders and scholars whose 
> diverse, innovative voices enlighten, engage and inspire change for a better 
> world.
> 
> DOCUMENTS
> Curriculum Vitae - Your most recently updated C.V.
> Cover Letter
> Statement of Teaching - statement of teaching goals and experience
> Statement of Contributions to Diversity - Statement addressing past and/or 
> potential contributions to diversity through research, teaching, and/or 
> service.
> Misc / Additional - one published article or book chapter (no more than 40 
> pages)
> 
> REFERENCES
> 3 references required (contact information only)
> 
> APPLY HERE
> https://recruit.apo.ucla.edu/apply/JPF03396
> 

Re: [Frameworks] Eiki SL-0 belt

[George, Sherman]

Check at:
https://www.mcmaster.com/#o-rings/=19dwdm3
McMaster-Carr is a truly great industrial hardware co.
No minimum, they have it in stock and ship in 36 hours They do charge for 
shipping but so does everyone else.
See the full line of products at
www.mcmaster.com
Sherman


> On Sep 14, 2017, at 4:05 PM, Scott Dorsey  wrote:
> 
> I think that belt is just a big industrial O-ring.  A plumbing supply house
> should have spares, I don't think you'll even need to go to PRB or someplace.
> --scott
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Re: [Frameworks] High resolution enlargements from 16mm prints

[George, Sherman]

Seth,
Contact me off list.
I may be able to help.
Sherman George
sgeo...@ucsd.edu
858-229-4368


On Aug 31, 2017, at 7:29 PM, Seth Mitter 
> wrote:

Dear Frameworks,

I'm working on a project with Canyon Cinema to create a frame enlargement setup 
in-house to create high resolution digital images from 16mm prints (both single 
frames and frame sequences). I'm hoping to hear from anyone who has experience 
or expertise in creating a setup that produced excellent digital images for 
large format printing. Capability to focus and resolve grain in 16mm prints is 
critical, as well as producing files equivalent to 4K pixel dimensions (or 
higher).

As an example I've recently been impressed by the quality of the Peter Hutton 
Film Stills exhibited at Shoshanna Wayne Gallery: 
http://shoshanawayne.com/peter-hutton-film-stills/43inytqgn0w6pule0fc1clu8xltuwg
(if anyone knows who worked on producing these enlargements I'd love to get in 
contact).

I'm aware of methods using consumer flatbed document scanners but have never 
been satisfied with results. I've heard of (but never tried) using special 16mm 
dimension slide duplicator mounts for 35mm slr cameras - I imagine this only 
worked for single frame enlargements, not frame sequences. Buying a 4k films 
scanner definitely isn't in the budget either.

Any suggestions or advice will be much appreciated.

-Seth





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Re: [Frameworks] Kodak Super8 digital camera

[George, Sherman]

I think it would be a mistake to make that assumption that if Kodak is selling 
a Super 8 cameras they will continue to make the film. The management of Kodak 
is no longer driven driven by the Sensitized Products Division. In my opinion 
Kodak will discontinue any product when it stops being profitable.
To keep Super 8 alive it is far better to buy a well maintained quality camera 
in the $ 500 range and spent the rest of the money on film and processing.
Sherman 
> On Jul 14, 2017, at 8:15 PM, Tim Halloran  wrote:
> 
> THIS point about the stocks, above all. 
> 
> Tim
> 
> Sent from my iPhone
> 
>> On Jul 14, 2017, at 5:55 PM, Toni-Lynn Frederick  
>> wrote:
>> 
>> ...Also, correct me if I’m wrong, but is it not the case that, with the 
>> creation of this camera, comes the guarantee of continued stock production — 
>> or at least it means that raw film stock won’t disappear as soon as some of 
>> us feared? 
>> 
>> That’s got to be worth something, no?
>> 
>> Toni-Lynn Frederick
>> University of Reading
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Re: [Frameworks] Pageant AV 12 E6 sound problem

[George, Sherman]

I could not locate a diagram for the Pageant amp but most of the projector amps 
of that period powered the exciter lamp with a high frequency oscillator. It 
was difficult to generate a pure DC voltage for the lamp.
The high frequency ac was above what the ear could detect. If you can find a 
tube tester test the tubes or look for one that has no glow when viewed in the 
dark. If it has a transistor amp ignore this advice.
If you can locate a diagram forward it to me and I will see if I can be more 
specific.
Sherman


On Feb 24, 2017, at 4:55 PM, Scott Stark 
> wrote:

Hi Frameworkers, I have a Pageant AV 12 E6 where the optical sound bulb is not 
coming on. I’ve replaced it with a new one and it’s still not working (the old 
one didn’t look burned out either). I know the amplifier is working as I hear a 
healthy hum when I turn it on, and the flash from my camera even caused a loud 
pop when I snapped this photo, so I know the reader sensor itself is working. 
Any idea what could be causing the bulb not to come on? There’s a “circuit 
breaker” button on the panel but it doesn’t seem to do anything when I press 
it. Is there a fuse somewhere inside that might need replacement?

http://www.hi-beam.net/temp/IMG_1633.JPG

Thanks for any advice.

Scott Stark
scottstark.com
Experimental Response Cinema
Flicker

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Re: [Frameworks] "Husbands" and "Wives"

[George, Sherman]

Joel DeMott and Jeff Kreines “ Seventeen” and others.


On Feb 10, 2017, at 7:59 AM, minou norouzi 
> wrote:

Dear Frameworkers,

I'm doing some research on filmmaking couples and wondered if you could help?

Am looking to identify filmmakers who are in relationships with other 
filmmakers, or those have been in the past, and where their individual works 
are distinct and separate from each other, rather than outright collaborations 
(if that makes sense). This, within the artist's film, artist-made film, 
experimental film genre.
The pairings I'm looking to identify need not be heterosexual pairings; very 
open to historical suggestions as well. They just both need to have made a 
significant number of films of their own.

Look forward to hearing your suggestions - very many thanks in advance!
Minou


minounorouzi.com
sheffieldfringe.com
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Re: [Frameworks] Moviola optical reader conversion

[George, Sherman]

Ryder,
The amp used with this reader is the Moviola URS-1
The coaxial connector is the 6 volts for the lamp.
As I remember the sound pickup is a photo tube that requires 70 volts on pin 2 
and 4 of the 4 pin connector.
Not an easy amp to replicate in this day of solid state electronics and very 
pricey on the used market as Jeff said.
If you can find a tech who can replace the phototube with a modern photocell 
the output could be fed to most audio amps and you would need to connect a well 
filtered 6 volt supply to the lamp.
Even when new these amp/readers had a lot of 60 cycle  hum.
Sherman


[Image result for magnasync URS-1 
diagram]
On Jan 8, 2017, at 10:01 AM, Ryder White 
> wrote:

Hi there lovely Frameworkers,

A little while ago I got a couple of 16mm Moviola SR0 optical sound readers 
with a new sync block I bought on eBay. I think they are meant to attach to a 
moviola squawk box with two connections: one 4 pin connector, presumably for 
power, and a coaxial connector, presumably for signal. I'm interested in trying 
to convert them to output to a 1/4" jack or something similarly ubiquitous, 
which I suppose will require a separate power supply for the exciter lamp.

If anyone has undertaken a similar project, or has any knowledge about the 
specifics of each of the connectors, I'd be glad to know about it before I 
start tearing into them.

Thanks!

Ryder




--

Sent from mobile device, please forgive typographic errors. -RTW

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Re: [Frameworks] Eiki EX-2000A power cords

[George, Sherman]

Why not replace the existing male power connector with a standard DIN male 
rectangular connector. Then you could get a power cord pretty much anywhere.
I am pretty sure the warranty has expired on the projectors and any experienced 
tech should be able to do the work.
Just a thought.
Sherman

On Jan 4, 2017, at 12:37 PM, Greg Schmitz 
> wrote:

Our Elmo CX-350 uses a

Nanaboshi Original Part # 41-605, 3 contact, female contacts, S-type

Current Part #: NCS-253-P

to connect the power cord to the projector.  The Nanaboshi connector is a 
circular connector.  We purchased several from

Kinetic Technologies of Ohio
PO Box 447
190 North Mill Street
Milford Center, OH 43045-0447
v: 937.349.7361

back in 2010.  It appears that Onrion also carries Nanaboshi connectors in the 
U.S. 


--greg schmitz




On 12/30/16 09:52 AM, Brian Frye wrote:
Dear Frameworks,

The Lexington Film League Showcase at 21c Museum in Lexington, KY recently 
acquired two very nice Eiki EX-2000A xenon 16mm projectors. Unfortunately, they 
didn't come with power cords. If anyone has any suggestions about where I could 
find some for a reasonable price, they would be much appreciated. Or even 
advice about the part name or number!

BLF

--
Brian L. Frye
Spears-Gilbert Associate Professor of Law
University of Kentucky College of Law
brianlf...@gmail.com
brianlf...@uky.edu
145 Woodland Avenue
Lexington, KY 40502
(859) 218-0632 (office)
(917) 273-2382 (cell)
http://copyrightlawcasebook.blogspot.com/
http://waste-book.tumblr.com/
You can access my papers on SSRN at: http://ssrn.com/author=646621



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[Frameworks] film scanner

[George, Sherman]

I received an ad for a Wolverine Data regular8/super 8 digital film scanner.
Has anyone used/tested this device and, if so, what was the quality of the 
transfer.
At $ 300 it seem like a deal.
Any evaluation would be welcome.
Thanks


Sherman George
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Re: [Frameworks] Motion graphics title using slit-scan....

[George, Sherman]

Every time the Enterprise goes into warp drive and the narrative scroll in 2001.
Here is a link that is a pretty good explanation:
https://vimeo.com/71702374
Hard work on film but there must be an easier way digitally.
Sherman

> On Oct 31, 2016, at 6:22 AM, Kasper Lauritzen  wrote:
> 
> Dear Frameworkers,
> 
> I remember reading about slit scan photography being used to make title 
> sequences where the static title is turned into a rolling wave, by moving the 
> printed title up and down. I thought it was John Whitney who did it (I could 
> be wrong), but now I can't find it again, and I forgot the original source.
> So does anyone have a clue which film, TV series or advertisement that used 
> this technique specifically to make the "wavy title"?
> 
> Thank you very much
> Kasper
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Re: [Frameworks] using a hot splicer

[George, Sherman]

Caryn,
This might help.
http://www.apecity.com/manuals/pdf/maier-hancock_portable_hot_splicer_instructions.pdf

Fresh cement is critical.
Sherman


On Oct 9, 2016, at 2:37 PM, Caryn Cline 
> wrote:

Hello Frameworkers,

I have a 16mm hot splicer (Maier-Hancock, like this one on 
YouTube) that I got for free many 
years ago and never used.  Now, I need to cement splice some of my negative 
together for a digitizing session.  I am not sure whether my splicer is working 
correctly.  How hot will it get before it is ready to splice?  Mine heats up 
but doesn't get very hot and in my first attempts at splicing it didn't work.  
This could be because it the splicer isn't hot enough or due to my lack of 
experience.  There are several splicers on eBay and I don't mind purchasing 
another if I need to.  Does anyone in the Seattle area have one they would let 
me use?

As always, many thanks for your help.

CC
Caryn Cline
Experimental Filmmaker & Teacher
vimeo.com/carynyc

[https://docs.google.com/uc?export=download=0B8QA2RrT4O21LWVUcGRlamdLTmc=0B8QA2RrT4O21Mk9zQVVReW9ZUS84SW51MDV2QjF4ZE9oSVFvPQ]
film still from "Hand-made" (2016)



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Re: [Frameworks] chemical disposal with septic system

[George, Sherman]

Sarah,
There is no magnet to attract silver.
For small batch processing precipitation is uncomplicated and inexpensive.
Sherman

Sent from my iPhone
Sherman George
858-229-4368


On Aug 30, 2016, at 18:00, Sarah Bliss 
> wrote:

Thanks Amanda, Scott, Pip, Sherman and David!  I very much appreciate all the 
info.

I appreciate the links to Kodak’s info, Sherman.  Unfortunately, I’m not able 
to access further links from that page.  Seems I need program membership, but I 
don’t find info on what that is.

Great to learn about onions as a temporary fix, Pip!

Sounds like the most problematic chemicals are in bleach, fix, and hypoclear.   
If spent chemicals are decanted and taken to a toxic waste site, how much of a 
concern are the trace chemicals and silver in washes?  Many folks seem to think 
the impact on the septic system is not of major concern, which leaves me with a 
concern about drinking water and general environmental health.  Searches online 
bring up opinions running the gamut, but we’ll be drinking water that has these 
untreated chemicals in them.

And do  I have it right that installing a silver recovery system is as simple 
as getting a special magnet that will attract the silver?


Sarah
http://www.SarahBlissArt.com



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Re: [Frameworks] chemical disposal with septic system

[George, Sherman]

Sarah,
Kodak has guidelines that can get you started.
Go 
to:http://www.kodak.com/global/en/service/faqs/faq5026.shtml
Also there is a paper on various methods of removing silver from spent chemical.
http://imaging.kodakalaris.com/sites/local/files/wysiwyg/RecoveringSilver.pdf
The biggest problem is used bleach in reversal processing . Most bleaches 
contain chromium, a heavy metal, and should be properly disposed of as 
hazardous waste.
Hope that helps
On Aug 28, 2016, at 7:31 AM, Sarah Bliss 
> wrote:

Hi All,

I’m a member of the AgX Collective in Boston.

I’m a newbie to analog filmmaking, thoroughly hooked after a week at Phil 
Hoffman’s Film Farm this summer.

I live in rural Massachusetts, and plan to build a darkroom this fall in a home 
studio.  I’m concerned about the impact on health of chemical drain/disposal.  
We have a well and septic system, as do our neighbors.  I’m seeking info about 
best and safest practice for disposing of chemicals, both regarding human water 
consumption, and also the impact on the complete ecological system.

I’ve been told that the best one can do is to rebottle used chemicals and take 
to a toxic waste site, in addition to installing a filtration system to catch 
silver nitrate that drains from washes.  Is that accurate?  What is 
safest/causes least harm?  I’m excited to learn more about “organic developing” 
after getting an intro to this from Ricardo Leite at Film Farm, but am also 
seeking info about chemical processing.

Questions:

  *   what can a filtration system actually filter?  Just silver nitrate?  Can 
it filter chemicals from developers, bleach, fix, etc?
  *   can you point me to info on how to construct a filtration system?
  *   what chemicals/how much will still go into the ground, and what is impact 
on humans, animals, plants?
  *   is this safe for a septic system?
  *   suggestions for reading/info/resources?

Thanks kindly for any advice/resources!

Sarah Bliss
http://www.SarahBlissArt.com

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Re: [Frameworks] Advice cleaning up a salvaged 16mm Contact Printer

[George, Sherman]

replace procession with precision
On Jul 26, 2016, at 1:40 PM, George, Sherman 
<sgeo...@ucsd.edu<mailto:sgeo...@ucsd.edu>> wrote:

If the gate does not have pitting from rust you can try red Jeweler’s Rouge on 
a soft cotton cloth. This will polish without scratching. Start with a damp 
cloth and follow with a dry cloth.
Also 3M makes Scotch-brite and the white is the finest grade and will remove 
surface rust without scratching the metal. When removing rust from procession 
surfaces test in a non-critical area first.
Hope this helps
Sherman
On Jul 26, 2016, at 6:31 AM, peter humble 
<petehum...@yahoo.com<mailto:petehum...@yahoo.com>> wrote:

Hi everybody,

I've recently acquired a small 16mm contact printer. It seems to be working 
fine but is a bit rusty in parts. I plan to strip it back and give it a good 
clean. Just wondering if there's anyone on the list who has had experience in 
cleaning/maintaining such machines? What materials should/shouldn't I use when 
cleaning rust from gates etc and other parts?

Regards,
Peter Humble | Research Affiliate | Screen Arts
Sydney College of the Arts
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Re: [Frameworks] Advice cleaning up a salvaged 16mm Contact Printer

[George, Sherman]

If the gate does not have pitting from rust you can try red Jeweler’s Rouge on 
a soft cotton cloth. This will polish without scratching. Start with a damp 
cloth and follow with a dry cloth.
Also 3M makes Scotch-brite and the white is the finest grade and will remove 
surface rust without scratching the metal. When removing rust from procession 
surfaces test in a non-critical area first.
Hope this helps
Sherman
On Jul 26, 2016, at 6:31 AM, peter humble 
> wrote:

Hi everybody,

I've recently acquired a small 16mm contact printer. It seems to be working 
fine but is a bit rusty in parts. I plan to strip it back and give it a good 
clean. Just wondering if there's anyone on the list who has had experience in 
cleaning/maintaining such machines? What materials should/shouldn't I use when 
cleaning rust from gates etc and other parts?

Regards,
Peter Humble | Research Affiliate | Screen Arts
Sydney College of the Arts
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[Frameworks] Posted for a friend

[George, Sherman]

Please contact directly
I’m looking for a proper Super16mm zoom for the Spa Western we’re shooting 
later this summer. We need something that can allow for relatively wide angles 
and close focus (3’ or better), plus some telefoto (so lets say like 9 - 57), 
and not terribly slow. PL mount (or mountable). My max would be like $4,000 - I 
do have a couple lenses I could trade in.

Best,
Lev
--
Lev Kalman
Senior Producer Director
Media Teaching Labs
Educational Technology Services
UC San Diego Information Technology Service
858-822-1984
lkal...@ucsd.edu


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[Frameworks] Digital 8mm

[George, Sherman]

Interesting DIY project:
http://spectrum.ieee.org/geek-life/hands-on/building-a-diy-digital-movie-camera-with-vintage-lenses

Sherman George
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[Frameworks] 16 mm reel

[George, Sherman]

Can someone resend me the photos of the 10o ft 16 mm processing reel.
Thanks

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Re: [Frameworks] 16mm Double perf clear leader

[George, Sherman]

The difference is the distance between the perforations along the length of the 
film. Here is the Kodak specification for 16 mm.

I believe the original question was related to what kind of leader to use when 
coating you own film.

2R-2994—16 mm film perforated two edges with a perforation pitch of 0.2994 in. 
(7.605 mm), short pitch,

ANSI / SMPTE 109-2003

2R-3000—16 mm film perforated two edges with a perforation pitch of 0.3000 in. 
(7.620 mm), long pitch, ANSI / SMPTE 109-2003

The short pitch is camera pitch and the long pitch is printer pitch. Printer 
pitch is longer because when the print stock is wrapped over the camera film on 
a contact printer it has a larger diameter.

Bottom line:
If you are coating leader with emulsion to shoot in a camera use short pitch.
if you are making your own print stock use long pitch.
For more details:
http://motion.kodak.com/KodakGCG/uploadedfiles/motion/US_plugins_acrobat_en_motion_newsletters_filmEss_11_Film_Specs.pdf
Sherman George

On May 2, 2016, at 6:13 PM, Morgan Hoyle-Combs 
> wrote:

Scott, do you think I could see pictures of the two? It would help me 
understand the difference much better.



From: Scott Dorsey >;
To: >;
Subject: Re: [Frameworks] 16mm Double perf clear leader
Sent: Mon, May 2, 2016 12:21:30 PM

It is a thing you should be concerned about if you ever intend on making a
print.  Use the same clear leader that you'd use for editing camera originals,
not the leader you'd use for editing prints.  That way you get the same pitch
that camera originals normally have.

That said... it is likely not difficult to modify a camera for B-wind instead
of double-perf.  If it's using those 50 foot magazines, there is a way to
load B-wind film into them that mostly works.

--scott
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Re: [Frameworks] seamless media player recommendations?

[George, Sherman]

I have had a Incredisonic IMP 150 playing a 45 min. clip for over 7 months 
without problems. It restarts automatically after a power outage and loops with 
about 20 sec. of black and cost around $40.00 from my local electronics dealer.
There is a brief logo when it restarts after a power failure. It is limited to 
1080 HDMI and SD analog.
Sherman


On Feb 27, 2016, at 12:10 PM, todd eacrett 
> wrote:


Has anyone tried the Micca Speck G2 or IncrediSonic IMP? They're cheap and 
tiny, no streaming, just file playback. I've been told they loop seamlessly or 
with just a very short black screen, but no logo/icon. If anyone has used 
either, do they output analog audio and hdmi video at the same time like the 
WDTV or do you need an hdmi breakout?



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Re: [Frameworks] Looking for Steenbeck 6000 16/35 timing belts

[George, Sherman]

SDP/SI.com carries metric belts. Page 2-163 of their metric catalog
516-328.3300
They don’t list a 63 tooth but have 60 or 65 tooth.
Hope that helps

> On Feb 19, 2016, at 9:01 AM, Transit Audio Services Ltd. 
>  wrote:
> 
> Greetings All
> 
> I'm trying to find a source for Steenbeck timing belts.  I've tried the major 
> manufacturers and they seem to be an odd spec.  
> 
> 5mm pitch
> 9mm width
> Trapezoidal tooth profile
> 53, 63, 83 & 98 teeth.
> 
> Thanks
> __
> Dean Allen
> 
> Transit Audio Services Ltd.
> Toronto, Ontario, Canada
> 416-977-9740
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Re: [Frameworks] cats & milk

[George, Sherman]

Sent from my iPhone
Sherman George
858-229-4368
Correction
K and U

> On Dec 29, 2015, at 11:49, George, Sherman <sgeo...@ucsd.edu> wrote:
> 
> Cat film for Katie Ursla.
> Two versions were made
> 
> Sent from my iPhone
> Sherman George
> 858-229-4368
> 
> 
>> On Dec 29, 2015, at 11:18, Gene Youngblood <ato...@comcast.net> wrote:
>> 
>> Friends, 
>> I’m drawing a blank on the title of a one-shot film, I think by Standish 
>> Lawder, of cats drinking milk in a glass bowl, seen from the bottom.
>> 
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Re: [Frameworks] cats & milk

[George, Sherman]

Cat film for Katie Ursla.
Two versions were made

Sent from my iPhone
Sherman George
858-229-4368


> On Dec 29, 2015, at 11:18, Gene Youngblood  wrote:
> 
> Friends, 
> I’m drawing a blank on the title of a one-shot film, I think by Standish 
> Lawder, of cats drinking milk in a glass bowl, seen from the bottom.
> 
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Re: [Frameworks] Help identify this animation stand

[George, Sherman]

It looks like a “SOS” stand made in New York in the 50’s. Many were used in the 
Signal Corp film units. The compound needs a lot of work. Someone that is handy 
with tools could get in functional for little money provided they could find a 
pin registered camera.
Sherman


On Sep 7, 2015, at 10:24 AM, Francisco Torres 
> wrote:

Something to consider-
If there are no serial number or model plates on it there is a possibility it 
is a one off DIY thing someone made.
This was very common in the 70's/80s as there were books that had instructions 
and lists of parts to do it. It was supposed to be cheaper than buying one but 
it must had been one hell of a hassle.

Sending a query to this group may help-

http://smfaanimation.blogspot.com/

2015-09-07 4:42 GMT-04:00 Tess Martin 
>:
Hello frameworks!
I am posting on behalf of an indie cinema in Seattle, that is trying to 
identify the exact model of an animation stand they've had in the back room for 
years.
They are interested in getting to a new good home, but first need a little more 
information on exactly what it is.

Pictures can be found in this Dropbox folder:

https://www.dropbox.com/sh/5dpzryfh9apsm64/AADZEhc71wj3YR35c0fnEa2ka?dl=0

Dimensions are about 60" wide, 40" deep, 30" high at table and 72" high at the 
arm.

Any pointers are much appreciated!
Thank you,
Tess Martin

-
www.tessmartinart.com
www.vimeo.com/tessmartin

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Re: [Frameworks] Articles/essays on the history of flatbed editors (Moviola, Steenbeck, etc)?

[George, Sherman]

You might try to find articles about the Kodak Analyst 16 mm projector. It was 
a mainstay in academic film studies. The projector allowed for frame by frame 
viewing both forward and reverse. The downside was that the projector destroyed 
film prints when over used.
Sherman


> On Sep 5, 2015, at 4:09 PM, Watter, Seth  wrote:
> 
> Hi all,
> 
> I'm wondering if people know of any texts that deal with the history of the 
> flatbed editor--more in its capacity as a viewing/analysis machine than as an 
> actual editing setup. I've found a few old articles on the Moviola in 
> journals like American Cinematographer, but they're strictly trade press 
> stuff, often just to advertise new product. I'm interested in how these 
> devices like Moviola and Steenbeck helped foster new forms of film analysis 
> (especially in the social sciences), and when they became 
> affordable/available beyond big studio production. Any suggestions would be 
> immensely helpful.
> 
> Thanks,
> 
> Seth Watter
> PhD candidate, Modern Culture & Media
> Brown University
> Co-Director, Magic Lantern Cinema
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Re: [Frameworks] removing Rex-O-Fader from a Bolex H16

[George, Sherman]

As someone suggested put a few drops of Kroil so that it wicks into the threads 
and let it set for 24 hours and the try to unscrew the crank. Beyond that find 
a good service person. Avoid getting Kroil on your skin.

Good Luck
On Sep 1, 2015, at 2:10 PM, Ugo Bo 
<ugobodi...@gmail.com<mailto:ugobodi...@gmail.com>> wrote:

Yes is left handed, it goes in the same screw as the original handle. So as I 
said, "I tried to unscrew the cog turning clockwise".

>From Rex o fader instruction:
""A. FITTING ON THE CAMERA
1. Unscrew the camera rewind handle by turning it clockwise.
2. Fit the Rexofader with its hole on the axis from which you just screwed the 
rewind handle.
3. Screw down and lock screw (1).
4. Set the special rewind handle (2), supplied with the accessory, in place. 
Screw it on firmly, turning anti-clockwise"

If you turn the cog anti-clockwise you just wind up the motor

2015-09-01 22:50 GMT+02:00 George, Sherman 
<sgeo...@ucsd.edu<mailto:sgeo...@ucsd.edu>>:
The crank is left hand threads

Sent from my iPhone
Sherman George
858-229-4368


On Sep 1, 2015, at 1:47 PM, George, Sherman 
<sgeo...@ucsd.edu<mailto:sgeo...@ucsd.edu>> wrote:

As I remember the Rex o fader is left hand thread. Try turning it the other way.

Sent from my iPhone
Sherman George
858-229-4368


On Sep 1, 2015, at 1:02 PM, Ugo Bo 
<ugobodi...@gmail.com<mailto:ugobodi...@gmail.com>> wrote:

Mmh
penetrating oil didn't work (I used Wd-40), I think I applied a considerable 
torque (don't ask me how much)... I wonder how much the service can charge for 
having the job done...
thanks anyway
Livio

2015-08-31 16:42 GMT+02:00 Ugo Bo 
<ugobodi...@gmail.com<mailto:ugobodi...@gmail.com>>:
Thanks Scott
I'm going to have a try tonight with some unlocking oil.

But the cog screw that's is stuck is a male one, which goes in the rewind 
spindle screw that's a female one, so heating the cog up should widen it making 
it stuck even more...

And I can't heat up the spindle screw which is unaccessible without dismantling 
the camera... (and both of these things scare me a bit...)

2015-08-31 16:14 GMT+02:00 Scott Dorsey 
<klu...@panix.com<mailto:klu...@panix.com>>:
Put a drop of kroil or some other penetrating oil on the cog.  Maybe
heat it up a little with a soldering iron.
--scott

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Re: [Frameworks] removing Rex-O-Fader from a Bolex H16

[George, Sherman]

The crank is left hand threads

Sent from my iPhone
Sherman George
858-229-4368


On Sep 1, 2015, at 1:47 PM, George, Sherman 
<sgeo...@ucsd.edu<mailto:sgeo...@ucsd.edu>> wrote:

As I remember the Rex o fader is left hand thread. Try turning it the other way.

Sent from my iPhone
Sherman George
858-229-4368


On Sep 1, 2015, at 1:02 PM, Ugo Bo 
<ugobodi...@gmail.com<mailto:ugobodi...@gmail.com>> wrote:

Mmh
penetrating oil didn't work (I used Wd-40), I think I applied a considerable 
torque (don't ask me how much)... I wonder how much the service can charge for 
having the job done...
thanks anyway
Livio

2015-08-31 16:42 GMT+02:00 Ugo Bo 
<ugobodi...@gmail.com<mailto:ugobodi...@gmail.com>>:
Thanks Scott
I'm going to have a try tonight with some unlocking oil.

But the cog screw that's is stuck is a male one, which goes in the rewind 
spindle screw that's a female one, so heating the cog up should widen it making 
it stuck even more...

And I can't heat up the spindle screw which is unaccessible without dismantling 
the camera... (and both of these things scare me a bit...)

2015-08-31 16:14 GMT+02:00 Scott Dorsey 
<klu...@panix.com<mailto:klu...@panix.com>>:
Put a drop of kroil or some other penetrating oil on the cog.  Maybe
heat it up a little with a soldering iron.
--scott

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Re: [Frameworks] 2. Re: What are the 3 Essential Films that you would show Artists on their first foray into the Moving Image Realm ?

[George, Sherman]

Standish Lawder would show “Wavelength” to his “History of Cinema” class and as 
the lights came up in the classroom he would go to the lectern and announce 
“Wasn’t that great, let’s watch it again”



On Mar 30, 2015, at 11:48 AM, Francisco Torres 
fjtorre...@gmail.commailto:fjtorre...@gmail.com wrote:

''If you want to take a group of curious, excited young artists and basically 
make them want to kill themselves, by all means, show them Wavelength. ''

This gave me an idea for a film. It would be titled-

''If Wavelength tires them what would La Region Central do?''

I first saw Wavelength at age 19 and it did not made me feel like killing 
myself but to take a Bolex and make something as weird as it Guess it had 
to do with the fact that it was 1980.

2015-03-30 14:14 GMT-04:00 Kelly Gallagher 
ke...@purpleriot.commailto:ke...@purpleriot.com:
Ooo excellent list Sasha. Formidable.



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Re: [Frameworks] 16mm/Super8 Screening Panel Discussion @ NYPL Jefferson Market Library

[George, Sherman]

Analog has other meanings unrelated to a signal.



On Nov 11, 2014, at 3:34 PM, Matt Whitman 
i...@mawhitman.commailto:i...@mawhitman.com wrote:

http://en.wikipedia.org/wiki/Analog_photography

shall we have this discussion?

On Nov 11, 2014, at 6:27 PM, Pip Chodorov 
framewo...@re-voir.commailto:framewo...@re-voir.com wrote:

Dear Matt,
Just wanted you to know that film is not analog.
Analog describes a signal, such as an audio or video signal; it is the opposite 
of a digital signal.
Film is a discrete frame by frame medium, not a signal, so it is neither analog 
nor digital.
It is just film.
Thanks,
Pip Chodorov



At 18:18 -0500 11/11/14, Matt Whitman wrote:
Just wanted to invite those of you in the NYC area to screening program that I 
have curated of work by emerging artists and filmmakers who work with 
specifically with analog motion picture film as a part of their practice.


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Re: [Frameworks] 16mm Moviola for sale, Boston Area

[George, Sherman]

Jeff,
I just passed on a Moviola 4 plate with the good prism for $200
Sherman
On Mar 22, 2014, at 3:13 PM, Jeff Kreines wrote:


On Mar 22, 2014, at 2:42 PM, Ethan Berry 
ethan.be...@montserrat.edumailto:ethan.be...@montserrat.edu wrote:

I am brokering the sale of a  Moviola 6 plate flatbed editing table. Model M84 
in working condition. Currently in storage north of Boston, photo's available. 
Asking price is $2,200.


The M84 is a 4-plate, the M86 was a 6-plate.  Moviola flatbeds are very hard to 
maintain (parts hard to get) and usually are given away — these days people 
often give late-model Steenbecks away, and they are much more usable.


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[Frameworks] R 8 camera

[George, Sherman]

This camera is on Craigs List in San Diego.
http://sandiego.craigslist.org/csd/pho/4361936821.html


Sherman George
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Re: [Frameworks] Oxberry Master Series Animation stand (model 5442) assembly

[George, Sherman]

There is an operations manual at:
http://www.evergreen.edu/electronicmedia/docs/oxberry_manual.pdf
And oxberry tech support is at:

Technical support for Oxberryproducts is available Monday through Friday from 9 
AM to 5 PM Eastern Time.

Phone: (201)-935-3000

Fax: (201)-935-0104

e-mail: techsupp...@oxberry.commailto:techsupp...@oxberry.com



I hope that helps.
Sherman


On Feb 7, 2014, at 2:32 PM, Warren Cockerham wrote:

Hi all..

I was wondering if anyone on the list has any literature on (or images of) an 
Oxberry Master Series Animation stand model 5442. I'm currently assembling one 
that was purchased from the Atlantic Filmmakers Cooperative over the summer. I 
don't have the money to hire a tech from Oxberry. We've got it about halfway 
assembled using some photographs as reference. But, I'm afraid we'll need an 
official manual to proceed. Does anyone have one? Does anyone have detailed 
photographs of the machine assembled?

thanks in advance...
Warren
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[Frameworks] Fairlight CVI

[George, Sherman]

This list seems to have large following among people interested in experimental 
visual media and if you can lead me to the right person or group I would be 
grateful.
I am part of a group refurbishing a Nam June Paik video installation. The heart 
of the installation is a Fairlight Computer Video Instrument. When Nam June 
created the active part of the installation he wanted viewers to be able to 
manipulate an incoming video signal with their hands so the slider and touch 
pad of the CVI was perfect for the installation. Since being installed in 1986 
the original CVI has been repaired many times and a second CVI installed and 
repaired until there seem no life left in the electronics.
My questions to the group are;
Does any one know where we could purchase used CVI's?
Is there a electronic repair person with experience in working on CVI's and 
with a supply of spare parts?
Is there a modern replacement for the CVI that does not rely on a keyboard for 
input and processes analog video?
Please contact me off list if you can supply any leads.
Thanks for your time.
To view the installation please go to:

http://stuartcollection.ucsd.edu/artists/paik.shtml

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Re: [Frameworks] 35mm Gate for JFK Optical Printer

[George, Sherman]

Send me a photo of the projector head with the gate removed. Place a ruler near 
the two threaded mounting points so I can get and idea of the spacing. Are the 
mounting bolts 10-32?
The gate looks a lot like the Richardson movement use in military photo 
interpretation equipment.
Sherman

On Nov 6, 2013, at 1:04 PM, luis ? wrote:

Hi Frameworks,

I'm looking for a 35mm Gate for a JFK Optical Printer...

Anyone know where i can find one?
Best

Luis Macías
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[Frameworks] JOB POSTING

[George, Sherman]

CAN SOMEONE RESEND  ME THE JOB POSTING FOR AN ANIMATION INSTRUCTOR FOR UC SANTA 
BARBARA
Sherman George
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[Frameworks] Animation Stand For Sale

[George, Sherman]

The University of California, San Diego is accepting bids for an Acme Model six 
16 mm camera on a S O S animation stand. The minimum bid is $500.
 For pictures and details on bidding go to:
http://surplus.ucsd.edu/Lot.aspx?id=88346
The camera uses double perf film but could be converted to single perf. The 
stand has follow focus and double Acme peg bars, the light box rotates . The 
column is about 10 feet tall and it weighs about 1200 pounds.
I have no monetary interested in the sale but I don't want this to go to the 
scrap yard.
Every thing was working in the Spring when it was removed from service.. 
The university accepts bids on line and in person. Conditions of sale are as 
is, where is. Payment by check or credit card and you have 7 days after the bid 
is accepted to remove the equipment. There is assistance available for loading.
If you have further question contact me off list or at the number below.

Sherman George
sgeo...@ucsd.edu
858-229-4368



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Re: [Frameworks] bulb for Muray 16mm movieola?

[George, Sherman]

Try Chirstys Editorial in LA
http://www.christys.net/film.html


On Sep 11, 2013, at 11:06 AM, Michael joyce wrote:

would anyone have an idea whether it may be possible to find this bulb for
a portable Muray 16mm movieola?

Specifications: 25V, 25W
Approximate size: diameter (bottom) 14mm; length 45mm

I've looked long and hard on internet, but no luck so far.
Closest I got was 25V, 15W in a slightly different size -  fitted
ok in the moviela but isn't bright enough..

Thanks,

Michael Joyce



Photo on 2013-08-01 at 16.09.jpg

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Sherman George
sgeo...@ucsd.edumailto:sgeo...@ucsd.edu
858-229-4368



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[Frameworks] Black Powder

[George, Sherman]

A few years ago a friend injured herself by being careless with black powder. 
She set off a charge and went to set a second charge and the surface was hot 
enough to ignite second charge as it was poured from the can. Big boom, painful 
burns and singed eyebrows. 
Better to  be safe and find an experienced person to do this kind of special 
effects
Good Luck and Be Safe.

Sherman George
sgeo...@ucsd.edu
858-229-4368



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Re: [Frameworks] Q for the list: digitize 16mm mag stock reels

[George, Sherman]

Can you find a 16 mm flatbed that works?


On Aug 10, 2013, at 7:49 AM, Rob Christopher wrote:

I need to digitize a few sound reels of 16mm fullcoat mag stock. Do you know of 
any indie facilities have equipment that can do this (such as a Magnatech mag 
reel machine), or even 16mm sound playback equipment that could be hooked up to 
a portable digital recorder? I'm based in Chicago, but as it turns out the 
reels in question are in NYC. I have reached out to Millennium in Brooklyn but 
haven't gotten a response. Any advice is greatly appreciated.

Regards,
Rob Christopher

www.randomcha.nethttp://www.randomcha.net/
www.chicagoist.comhttp://www.chicagoist.com/
Twitter: @randomchahttp://twitter.com/#%21/randomcha
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858-229-4368



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Re: [Frameworks] The $3, 000 open source multi-format 8/16/35 scanner project called Kinograph

[George, Sherman]

Seems like the way to solve the mirror problem is with a Sony NEX camera.
Sherman George


On Jul 17, 2013, at 6:25 AM, Scott Dorsey wrote:

 The jitter issue is less severe than it might have been, since the edges of
 the frame can be located digitally and each frame recentered individually.
 With film that has shrunk at all this becomes important anyway.
 
 But... the issue of wearing out the shutter is a very serious one that I
 had not thought of.
 
 The thing is... there are so many good scanners out there right now.  Most
 of them aren't cheap, but they are cheap enough that purchasing time on one
 of them isn't terribly expensive.  It's hard to beat the Kinetta for print
 scanning these days, I think, and it's not much more money to get a Kinetta
 run than a boatanchor NTSC scanner.
 --scott
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858-229-4368



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Re: [Frameworks] Oxberry Master Series Animation Stand 16/35mm

[George, Sherman]

Eric,
Different stand. This one has been at UCSD since 1971.
Sherman
On Jun 13, 2013, at 1:04 PM, Eric Theise wrote:

 Jeff's mention of the animation stand coming available in San Diego
 made me go looking for this thread from back in February. Did this
 stand get saved, did it actually make the trip from Halifax to the SF
 Bay Area?
 
 --Eric
 
 On Fri, Feb 1, 2013 at 8:26 PM, sibling projects r...@siblingprojects.com 
 wrote:
 Hi Alex,
 
 I'm a filmmaker and have done animation and would like to incorporate
 more animation into my work so I'm very interested in the Oxberry
 Animation Stand. I live in San Francisco and teach at UC Santa Cruz. I
 have friends who are often in Halifax and who perhaps could arrange to
 have it picked up, or yes, would like to discuss shipping options.
 
 Thanks very much!
 Rini Y Keagy
 
 
 From: Alex Balkam blueswingingd...@gmail.com
 To: frameworks@jonasmekasfilms.com
 Cc:
 Date: Thu, 31 Jan 2013 15:34:49 -0400
 Subject: [Frameworks] Oxberry Master Series Animation Stand 16/35mm
 Hello, I am Technical Coordinator for the Atlantic Filmmakers
 Cooperative in Halifax, N.S. Canada. We are looking into perhaps
 unloading our excellent condition Oxberry Master Series Animation
 Stand.
 
 View here for details on the model type:
 http://www.evergreen.edu/electronicmedia/docs/oxberry_manual.pdf
 
 Are there any filmmakers/animators on Frameworks who might be
 interested in this item. Care to discuss price terms, shipping
 strategies, etc.
 
 Thanks!
 
 Alex Balkam
 Technical Coordinator for Atlantic Filmmakers Cooperative
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Sherman George
sgeo...@ucsd.edu
858-229-4368



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