Re: [Frameworks] More Sad news - Robert Fenz

[Jeff Kreines]

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Aug 13, 2020, at 1:08 PM, Stephanie Hutin  
> wrote:
> 
> 
> I'm very sad to learn of this loss. We worked together when he taught in 
> Media Studies. He was a kind person with many talents that he generously 
> shared with our students and entire community. 
> 
> Peace,
> Stephanie 
> 
> 
> Stephanie Hutin
> Director of Intercollegiate Media Studies Production, Claremont Colleges
> stephanie_hu...@pitzer.edu
> Fall 2020 office hours daily via Zoom
> To make an appointment, go to: https://stephaniehutin.youcanbook.me/
> 
> 
> 
> From: FrameWorks  on behalf of Adam 
> Hyman 
> Sent: Wednesday, August 12, 2020 9:21 PM
> To: Experimental Film Discussion List  
> 
> Subject: [Frameworks] More Sad news - Robert Fenz
>  
> I assume many of you have already seen this on Twitter or Instagram or via 
> personal emails, but I haven’t seen it on Frameworks.
> Robert Fenz died in his sleep over the weekend.
> Another great loss, far too young.  A good person, friend to many of us here, 
> and wonderful filmmaker.
> 
> --
> Adam Hyman
> Los Angeles Filmforum
> a...@lafilmforum.org
> http://www.lafilmforum.org
> 
> 
> 
> 
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Re: [Frameworks] Sad news - Terry Cannon, founder of Filmforum, passes away

[Jeff Kreines]

Beautifully put, Adam. Amazing how much Terry accomplished with no 
institutional support. 

Condolences to Mary and of course the birds. He’ll be missed. 

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Aug 2, 2020, at 8:09 AM, Scott MacDonald  wrote:
> 
> 
> Thanks, Adam, for alerting us to the passing of Terry Cannon.
> 
> On the wall of the room where I keep my VHS/DVD/BluRays and watch films hangs 
> a beautiful poster from Pasadena Filmforum, a souvenir of a visit to Pasadena 
> to present a program of single-shot films in 1981. Patricia and I were on a 
> cross-country trip, my first visit to the American West, to interview 
> filmmakers (Morgan Fisher, George Kuchar, Robert Nelson, Bruce Conner) for 
> what would become the first Critical Cinema collection of interviews 
> (California Press, 1988). We stayed with Terry and Mary, sleeping on their 
> floor, for several days--and talking well into the nights. As I remember, a 
> hamster rolled round the little apartment in a plastic ball.
> 
> It would be impossible to overstate how lovely a man Terry was. His 
> commitment to avant-garde cinema and his light-hearted labors in service of 
> it were obvious and innovative. Pasadena Filmforum was a fun venue--though I 
> think I bored the audience that night (Morgan Fisher came up after the show 
> to tell me, "In LA, we don't talk so much before screenings")--though the 
> audience had been attentive to the films: as I remember, Larry Gottheim's Fog 
> Line, J. J. Murphy's Sky Blue Water Light Sign, Bob Huot's Snow, Hollis 
> Frampton's Lemon, and one of Morgan's films--probably Production Stills.
> 
> Terry's SPIRAL was an unusual film journal--thoroughly non-academic, but 
> valuable, high-spirited, and a pleasure to read. He and Willie Varela would 
> edit an issue of The Cinemanews (née the Canyon Cinemanews), No. 81: 2-6, 
> focusing on Super-8mm filmmaking, an early recognition/exploration of the 
> achievements of small-gauge filmmaking--just one of Terry's collaborative 
> projects. His curating and his editing and publishing were, for years, 
> important for filmmakers, cineastes, and fledgling film scholars.
> 
> As Adam has said, Terry moved on to other pursuits; and after a time, I lost 
> touch with him--but my interaction with Terry always was and always will be a 
> deeply pleasurable memory. He was a beautiful soul. RIP.
> 
> Scott
> 
> On Sun, Aug 2, 2020 at 3:04 AM Adam Hyman  wrote:
>> Today we lost our friend and visionary founder Terry Cannon. Terry was a 
>> writer, an editor, a curator, a librarian, an archivist, and incredible 
>> advocate for his students, colleagues, and generations of filmmakers. He 
>> believed in paying artists for their work, the importance of community 
>> collaboration, and that arts spaces should be welcoming and risk-taking.
>> He founded Filmforum (née Pasadena Filmforum) in 1975 when he was 22 years 
>> old and served as Executive Director for eight years. As Filmforum’s 
>> Executive Director, Cannon curated programs including “Show for the Eyes,” 
>> the first mail art film exhibition, “Films Found in a Box,” and “El Ojo 
>> Apasionado: The Passionate Eye,” along with creating our mission of 
>> promoting a greater understanding of media art, and the role of the artists 
>> and curators who create and present it, by providing a forum for 
>> independently produced, noncommercial work which has little opportunity of 
>> reaching the general public.
>> Cannon subsequently founded the arts publication Gosh! In 1978, and Spiral 
>> in 1984, which featured writing and artwork by experimental film luminaries 
>> including James Broughton, Willie Varela, Marjorie Keller, Pat O’Neill, 
>> Janis Lipzin, Kurt Kren, and Bruce Conner. He also edited the automotive 
>> publication Skinned Knuckles for over 25 years until 2005.
>> In his time at Filmforum, he befriended the artist and filmmaker Sara 
>> Kathryn Arledge, and eventually, after Arledge’s death, he and his wife Mary 
>> saved many of her paintings and painted slides when they were on the verge 
>> of destruction. They formed the Sara Kathryn Arledge Memorial Trust, and 
>> were instrumental in the exhibition of Arledge’s work at the Armory Center 
>> for the Arts in Pasadena in 2019, which brought Arledge's work to a new 
>> generation.
>> In 1996 Cannon founded the Baseball Reliquary, a nonprofit organization 
>> “dedicated to fostering an appreciation of American art and culture through 
>> the context of baseball history” Beginning in 1999 the Reliquary began 
>> honoring important figures from baseball’s history by

Re: [Frameworks] Tripod Wanted

[Jeff Kreines]

Julian:

A tripod?? 

If you get one, remember that the NPR has a higher center of gravity with most 
motors (the Aaton Alcan 54 motor being the exception) so you probably want 
something with beefier springs so the camera doesn’t tip. So you want to err 
towards heavier-duty. 

I once bumped into Jean Rouch in a room filled with tripods.  I asked if he 
ever used one. He said that he brought one along on his first trip to Africa, 
and lost it when he used it to fight off an alligator (or perhaps a crocodile?) 
from a canoe.  The tripod was lost and never replaced. 

You will find the NPR hand-holds a lot better without a zoom — a 10mm Switar 
makes it almost usable, if a bit front-heavy. 

But I digress. As always. 

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Jun 29, 2020, at 3:49 PM, Julian Antos  
> wrote:
> 
> 
> Looking for a used tripod suitable for supporting an Eclair NPR. Need 
> something durable but nothing fancy. Please email off list if you have 
> anything to sell!
> -- 
> Julian Antos
> Chicago Film Society
> www.chicagofilmsociety.org
> 773 827 8991
> 
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Re: [Frameworks] film: from start to finish

[Jeff Kreines]

I agree with Scott. The book is from around 1968, so it’s very purely 
film-oriented. 

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Jun 1, 2020, at 4:51 PM, Scott Dorsey  wrote:
> 
> 
>> 
>> Would someone point me to a comprehensive resource for learning to make a 
>> film, start to finish, on film?
> 
> A good discussion is in "A Primer for Filmmaking" by Roberts and Sharples.
> 
> --scott
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Re: [Frameworks] Free Siemens 16mm projector (NYC)

[Jeff Kreines]

That’s a nice clean one with the optional synchronous motor. 

It would be a shame to junk it. I hope someone takes it. 

But if you do, save the lower Tube amplifier section — they are in demand on 
eBay and go for $2-300. Search eBay for “klangfilm” and you will find some. 

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On May 28, 2020, at 10:54 PM, Beebe, Roger W.  wrote:
> 
> 
> NYC Frameworkers,
>  
> Would anyone want to adopt a VERY HEAVY Siemens 16mm projector that currently 
> lives in Carroll Gardens?  I have no idea if it works, because it’s missing 
> the proprietary plug that once powered it.  It was given to me with a big 
> batch of other stuff, and I’ve never gotten around to investigating how to 
> power it to give it a test run.  It has to be out of this apartment by 
> Sunday, so if I don’t get any takers ASAP, it’s going to the scrap metal 
> place in Gowanus.  It’ll break my heart to do it, but I know it’s a bit of a 
> project.  (Also, did I mention it’s heavy as hell?)  It does look like quite 
> a machine…
>  
> ?
> Roger
> 
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Re: [Frameworks] Arri S Tech Question

[Jeff Kreines]

It would likely require a hard front with one mount. 

But why do it?  PL mount lenses are pricey, and there’s a lot of good glass in 
Arri Mount. Besides, the 16S isn’t Super 16, so you are putting a lot of money 
into a camera that would be hard to sell. (If that matters to you.)

Converting a 16S to S16 is difficult. I’d be wary of most repair people who 
claim they can do it.

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On May 27, 2020, at 10:53 PM, Isaac Brooks  wrote:
> 
> 
> Jeff & Co, 
> 
> I’m sorry for the aside, but do you know of a technician that could put a PL 
> hard front on an Arri 16S? Asked Les Bosher once and he said he didn’t offer 
> it as an option. Thank you! 
> 
> Isaac 
> 
>> On Wed, May 27, 2020 at 10:05 PM Jeff Kreines  wrote:
>> I hate to disagree with Scott. 
>> 
>> First, I assume your camera has a standard or Bayonet Arri mount, not PL. 
>> 
>> Arri Mount has a flange focal distance of 52mm. Olympus has a FFD of 46mm. 
>> That means a lens can’t focus to infinity, tho it could be used as a macro. 
>> Zooms will be somewhat disastrous as focus won’t hold through the zoom range.
>> 
>> If it were the other way — using the Olympus lens on, say, a C mount camera, 
>> there’s plenty of room — C Mount is 17.526. 
>> 
>> 
>> 
>> Jeff Kreines
>> Kinetta
>> j...@kinetta.com
>> kinetta.com
>> 
>> Sent from iPhone. 
>> 
>> > On May 27, 2020, at 9:02 PM, Dominic Angerame  
>> > wrote:
>> > 
>> > Yeah thanks Scott was able to get a battery from B&H that works just 
>> > fine, very portable….Power Star 1223 12v 2.3AH also runs my EL.
>> > 
>> > d
>> > 
>> >> On May 27, 2020, at 7:00 PM, Scott Dorsey  wrote:
>> >> 
>> >> You could probably get an M42-to-PL adaptor and then an Olympus-to-M42
>> >> adaptor and screw them together if you really are married to that 
>> >> configuration.  I wouldn't try it with a zoom, though... every time you
>> >> add an adaptor you're adding more error to your backfocus distance.
>> >> --scott
>> >> ___
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>> > 
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Re: [Frameworks] Arri S Tech Question

[Jeff Kreines]

I hate to disagree with Scott. 

First, I assume your camera has a standard or Bayonet Arri mount, not PL. 

Arri Mount has a flange focal distance of 52mm. Olympus has a FFD of 46mm. That 
means a lens can’t focus to infinity, tho it could be used as a macro. Zooms 
will be somewhat disastrous as focus won’t hold through the zoom range.

If it were the other way — using the Olympus lens on, say, a C mount camera, 
there’s plenty of room — C Mount is 17.526. 



Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On May 27, 2020, at 9:02 PM, Dominic Angerame  
> wrote:
> 
> Yeah thanks Scott was able to get a battery from B&H that works just fine, 
> very portable….Power Star 1223 12v 2.3AH also runs my EL.
> 
> d
> 
>> On May 27, 2020, at 7:00 PM, Scott Dorsey  wrote:
>> 
>> You could probably get an M42-to-PL adaptor and then an Olympus-to-M42
>> adaptor and screw them together if you really are married to that 
>> configuration.  I wouldn't try it with a zoom, though... every time you
>> add an adaptor you're adding more error to your backfocus distance.
>> --scott
>> ___
>> FrameWorks mailing list
>> FrameWorks@jonasmekasfilms.com
>> https://mailman-mail5.webfaction.com/listinfo/frameworks
> 
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Re: [Frameworks] 1. when was the film splicer invented? (mstark...@gmail.com)

[Jeff Kreines]

Ricky Leacock said that his first job in the film industry was as a “splicer.”  
The editor would assemble shots using either paper clips or cardboard joiners 
(a piece with protrusions to engage the perfs that could be wound on a reel). 
Ricky sat outside the actual editing room and when handed a reel his job was to 
splice the shots together. I don’t know what kind of cement splicer he used. 

An aside:  the most bizarre task for an assistant editor in the nitrate days 
was “cigarette loader.”  There was an editor who had to when he worked, so he 
rigged a rubber tube that extended out the window.  The assistant would load a 
cigarette into the far end of the tube and light it. Pleasure ensued. Obviously 
not too safe for nitrate, but I guess things were not as strict back then. 

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Apr 24, 2020, at 5:48 AM, "mstark...@gmail.com"  
> wrote:
> 
> Wow I have never seen this device before!
> 
> Interesting that in the B &H catalogue they promote, "the employment of 
> machinery in contrast with the uncertainty of hand splicing”. I’m fascinated 
> by women’s work as ‘cutters’ and ‘joiners’ in the cutting rooms of early 
> cinema, and the way it was seen as a menial task similar to stitching fabric. 
>  Although the foot pedals on the B&H foot splicer remind me of that of a 
> sewing machine, they might have been modelled more on the multiple pedals of 
> a car? Will we ever know? I might be thinking too much about machines being 
> gendered but…
> 
> This machine indicates a shift away from editing by hand (and its 
> associations with stitch) towards editing with a machine that required 
> “intelligent operation”. It could be part of a narrative concerning women’s 
> disappearance in the cutting rooms as the film industry became big business 
> (signalled by the end of the single reel era around 1910) and the 
> introduction of sound-on-film in the 1920s. However, some women, although 
> still largely unknown today, did create successful careers as editors, such 
> as Rose Smith, Anne Bauchens and Margaret Booth. 
> 
> By the 1930s a clear distinction was marked out between the menial work 
> carried out by women assistants known as ‘cutters’ and the creative task of 
> the male ‘editors', as shown in this film clip delivered with an extremely 
> stiff upper lip! https://www.youtube.com/watch?v=AOHsGkonQwg 
> 
> Thanks for introducing me to this machine, it is extremely useful in my 
> research.
> 
> If anyone has any further info around this topic please get in touch.
> 
>> On 23 Apr 2020, at 23:03, Jeff Kreines  wrote:
>> 
>> The B&H “foot splicer” is still the industry standard for negative cutters 
>> today.  Amazing device. 
>> 
>> Jeff Kreines
>> Kinetta
>> j...@kinetta.com
>> kinetta.com
>> 
>> Sent from iPhone. 
>> 
>>>> On Apr 23, 2020, at 3:03 PM, Buck Bito - Movette  
>>>> wrote:
>>>> 
>>> 
>>> Bell and Howell's advanced foot-actuated splicer's patent was applied for 
>>> in 1916 - so although I haven't found dates for earlier splicers, I feel 
>>> there must have been simpler splicers available prior to that along the 
>>> lines of the Bell & Howell 198A splicer design (although that particular 
>>> model follows the introduction of 16mm film in 1923).
>>> 
>>> Here's the google patent link:
>>> https://patents.google.com/patent/US1275431A/en
>>> 
>>> And Brian Pritchard has a 1929 B&H pamphlet scanned that shows this type of 
>>> splicer in the 3rd page:
>>> http://www.brianpritchard.com/B&H_Splicers.htm
>>> 
>>> -Interesting thread!
>>> 
>>> 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 4/23/2020 9:16 AM, mstark...@gmail.com wrote:
>>>> Many thanks for that George - i have some of these type of splicers but 
>>>> have never actually used one.
>>>> 
>>>>> On 23 Apr 2020, at 16:33, George, Sherman  wrote:
>>>>> 
>>>>> The Griswold cement film splicer was patented in 1922 and was the first 
>>>>> splicer I used  in the early 1960’s
>>> ___
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Re: [Frameworks] 1. when was the film splicer invented? (mstark...@gmail.com)

[Jeff Kreines]

The B&H “foot splicer” is still the industry standard for negative cutters 
today.  Amazing device. 

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Apr 23, 2020, at 3:03 PM, Buck Bito - Movette  wrote:
> 
> 
> Bell and Howell's advanced foot-actuated splicer's patent was applied for in 
> 1916 - so although I haven't found dates for earlier splicers, I feel there 
> must have been simpler splicers available prior to that along the lines of 
> the Bell & Howell 198A splicer design (although that particular model follows 
> the introduction of 16mm film in 1923).
> 
> Here's the google patent link:
> https://patents.google.com/patent/US1275431A/en
> 
> And Brian Pritchard has a 1929 B&H pamphlet scanned that shows this type of 
> splicer in the 3rd page:
> http://www.brianpritchard.com/B&H_Splicers.htm
> 
> -Interesting thread!
> 
> 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 4/23/2020 9:16 AM, mstark...@gmail.com wrote:
>> Many thanks for that George - i have some of these type of splicers but have 
>> never actually used one.
>> 
>>> On 23 Apr 2020, at 16:33, George, Sherman  wrote:
>>> 
>>> The Griswold cement film splicer was patented in 1922 and was the first 
>>> splicer I used  in the early 1960’s
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Re: [Frameworks] 1. when was the film splicer invented? (mstark...@gmail.com)

[Jeff Kreines]

The B&H “foot splicer” is still the industry standard for negative cutters 
today.  Amazing device. 

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Apr 23, 2020, at 3:03 PM, Buck Bito - Movette  wrote:
> 
> 
> Bell and Howell's advanced foot-actuated splicer's patent was applied for in 
> 1916 - so although I haven't found dates for earlier splicers, I feel there 
> must have been simpler splicers available prior to that along the lines of 
> the Bell & Howell 198A splicer design (although that particular model follows 
> the introduction of 16mm film in 1923).
> 
> Here's the google patent link:
> https://patents.google.com/patent/US1275431A/en
> 
> And Brian Pritchard has a 1929 B&H pamphlet scanned that shows this type of 
> splicer in the 3rd page:
> http://www.brianpritchard.com/B&H_Splicers.htm
> 
> -Interesting thread!
> 
> 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 4/23/2020 9:16 AM, mstark...@gmail.com wrote:
>> Many thanks for that George - i have some of these type of splicers but have 
>> never actually used one.
>> 
>>> On 23 Apr 2020, at 16:33, George, Sherman  wrote:
>>> 
>>> The Griswold cement film splicer was patented in 1922 and was the first 
>>> splicer I used  in the early 1960’s
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Re: [Frameworks] Looking to buy Bolex or similar

[Jeff Kreines]

Filmos and K100s are excellent cameras. No reflex finder, but with a 10mm 
Switar who needs one. The problem with the K100 VF objectives is that 15mm is 
the widest, IIRC. 

The one Beaulieu I kind of like is the spring wind R16G. Yeah, still has that 
aerial image finder that’s bright but hard to focus with. But it isn’t trying 
to be something it isn’t. Famed TV news cameraman Laurens Pierce used that 
camera for MOS. 

Best of luck to you. 



Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Apr 13, 2020, at 9:55 AM, Dave Tetzlaff  wrote:
> 
> 
>> 
>> The problem is that there aren't many people who can service the things any 
>> longer…
> 
> This has been a huge issue in the 16mm world for decades now. Since there 
> does seem to be continuing interest in the medium among ongoing generations 
> of artists, I wonder what we can do to keep the technology alive? Or maybe 
> the question is what kind of organization exists or would have to be formed 
> to keep 16mm going? Assuming, that is, that some sort of film stock will 
> continue to be available, the next question become what happens when the 
> remaining folks like Dieter and Jean-Louis who can fix Bolexes finally 
> retire? If 16mm camera repair/maintenance is no longer a viable business, do 
> we not need some sort of non-profit to collect resources like service manuals 
> and specialized tools and train and employ young people as camera techs, as a 
> subsidy to cinematic arts? 
> 
> Imagining such an arrangement, I would like to put in a word for some of the 
> "less feature-rich MOS camera alternatives to the Bolex” as potential tools 
> for extending the life of the medium, for the very reason that they MUCH 
> easier to service than a Bolex or (FSM forbid) a Beaulieu. I refer 
> specifically to Filmos and Kodak K100s, both of which I personally have taken 
> apart, fiddled with, revived and put back together successfully with just 
> some basic mechanical skills and no specialized training. I mean, when was 
> the last time, if ever, you heard about someone shooting with a K100 or 
> servicing a K100? It’s all Bolex, Bolex, Bolex. Every camera has it’s 
> drawbacks that accelerate as the years go by, with K100s it’s a pain to 
> acquire finder objectives that match the prime lenses you might want to use. 
> But I’m just observing that if we want the medium of personal photochemical 
> motion picture productiion to endure, we ought to value simplicity and ease 
> of service in choosing an limited arsenal of tech we aim to keep in 
> operation. E.g. Filmos forever, but trying to keep Krasno K3s going strikes 
> me as a waste of effort...
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Re: [Frameworks] Looking to buy Bolex or similar

[Jeff Kreines]

I think you mean DuAll. DuArt was a film lab famous for losing films in their 
vaults. 

DuAll is recommended and in NYC. 

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Apr 12, 2020, at 7:29 PM, Scott Dorsey  wrote:
> 
> You tried DuArt and B&H's used division? 
> --scott
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Re: [Frameworks] Looking to buy Bolex or similar

[Jeff Kreines]

I’d avoid the EL — buggy electronics and hard to fix. Beaulieus are buggy, too. 
And don’t even think of a Scoopic...

Get a later Rex 5 (not for the magazines, but for the 13x viewfinder (vs 10x on 
the Rex 4 and earlier Rex 5s, and the 2x on Rex 1 and IIRC Rex 2. 

Get a 10mm Rx Switar and you’re good to go. 

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Apr 12, 2020, at 7:02 PM, George Monteleone  
> wrote:
> 
> 
> Hi, everyone.  I hope you're staying safe.  
> 
> My trusty Rex-4 was stolen last Fall and I'm ready to invest in a 
> replacement.  Ideally I'd like to find a Rex-5 in nice shape (any extras a 
> plus.)  
> 
> I would consider a Beaulieu R16 or Bolex EL *but* I'm not sure if these have 
> time exposure features, and that's something I'd like to have.  
> 
> I'm in NYC, happy to pay for shipping if we can make a deal; if you're within 
> a couple hours of the city I can drive to you and we can do a safe socially 
> distanced exchange.  Please send me quotes or links if you're interested in 
> selling!  
> 
> Thanks,
> 
> George
> georgemontele...@gmail.com
> 
> 
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Re: [Frameworks] Chloe Aaron

[Jeff Kreines]

The Chloe Aaron Era at the NEA was a magical time. Great panels and great 
grants. I miss those days. 

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Apr 8, 2020, at 1:17 PM, Green, Ron Green  wrote:
> 
> 
> The NYTimes reported on April 3 that Chloe Aaron died of cancer Feb 29. The 
> Times obituary understandably focused on her major contributions in building 
> PBS from a collection of stations into a national network while she was 
> senior vice president there in the late 1970s and early '80s. She developed 
> documentary and news programs such as MacNeil Lehrer that later became The 
> News Hour; she established major arts series and she instituted national 
> airing times that advanced and centralized the PBS system at the national 
> level.
> 
> Less well known is her critical advancement of the fields of American 
> independent film and video. I worked for Chloe in the early mid-70s as her 
> assistant director in the Public Media Program at the National Endowment for 
> the Arts, the predecessor to the Media Arts Program. She was a visionary 
> leader who implemented NEA director, Nancy Hanks's, mission to use media, 
> specifically documentary film and television, to expand access to the 
> traditional arts.
> 
> But Chloe's most impressive and visionary contribution to that mission was to 
> gradually transform the NEA's commitment to film as a mere pipeline for the 
> other arts into a mission that included the support of documentary film as 
> itself an art form. At the same time, she strategically and diplomatically 
> expanded the NEA's direct support of all independent film, including 
> experimental avant-garde, animation, and narrative filmmaking.  She appointed 
> a standing panel of independent experts that included George Stoney, Ricky 
> Leacock, Donn Pennebaker, Fred Wiseman, Stan VanDerBeek, Shirley Clarke, and 
> educators and scholars like Gerald O'Grady, Colin Young (formerly BFI), and 
> Sheldon Renan. Eventually, virtually the whole of the pantheon of film and 
> video artists scholars, pioneers, administrators, and educators in the 
> independent cinema of the '70s in America passed through her program on 
> panels and as grant recipients. She hired me specifically because I was 
> working for O'Grady's legendary programs in independent film at Buffalo, and 
> Chloe felt she needed more staff who were already connected to independent 
> film in order to advance one of her priorities, the regional media-center 
> movement that supported independent filmmakers throughout the country in the 
> '80s and '90s.
> 
> Her leadership and friendship were a major positive influence on my life, and 
> also on countless other working frameworkers ever since the 1970s. I have 
> always been proud of her accomplishments, which seemed to flow naturally from 
> her easy, light-spirited, far-sighted and effective leadership. She never 
> took the limelight, and she had fun--but she performed miracles all her life. 
>  I wish her family well.
> 
>   
> Ron Green
> 356 W 7th Ave
> Columbus OH 43201
> 614.421.2131
> 
> 
> J. Ronald Green
> Professor Emeritus of Film Studies
> Department of History of Art
> The Ohio State University
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Re: [Frameworks] Eclair NPR

[Jeff Kreines]

Any reason for the Perfectone?  The flat base is nice but it’s bigger for 
handheld shooting. Alcan 54 is the desirable one. 

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Feb 19, 2020, at 4:30 PM, mariah garnett  wrote:
> 
> 
> Any advice on where to get a perfectone motor? I've checked ebay but not sure 
> where else to look
> 
>> On Wed, Feb 19, 2020 at 1:59 PM Jon Behrens  wrote:
>> Hi here is a thought, you might consider just buying a new motor all 
>> together. Might be cheaper because there are tones of them out there.
>> 
>> Jon
>> 
>> Sent from my iPhone
>> 
>>> On Feb 19, 2020, at 5:39 AM, Ethan Berry  wrote:
>>> 
>>> You might see if Bernie O'Dougherty still works on NPR's. He has done work 
>>> on my NPR and ACL.
>>> ber...@super16inc.com
>>> Ethan Berry
>>> 
>>> 
>>> 
>>>> On Wed, Feb 19, 2020 at 6:59 AM  
>>>> wrote:
>>>> Send FrameWorks mailing list submissions to
>>>> frameworks@jonasmekasfilms.com
>>>> 
>>>> To subscribe or unsubscribe via the World Wide Web, visit
>>>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>>>> or, via email, send a message with subject or body 'help' to
>>>> frameworks-requ...@jonasmekasfilms.com
>>>> 
>>>> You can reach the person managing the list at
>>>>     frameworks-ow...@jonasmekasfilms.com
>>>> 
>>>> When replying, please edit your Subject line so it is more specific
>>>> than "Re: Contents of FrameWorks digest..."
>>>> Today's Topics:
>>>> 
>>>>1. Re: OPEN CALL (Charles Chadwick)
>>>>2. Eclair npr (mariah garnett)
>>>>3. Re: Eclair npr (Jeff Kreines)
>>>> 
>>>> 
>>>> 
>>>> -- Forwarded message --
>>>> From: Charles Chadwick 
>>>> To: Experimental Film Discussion List 
>>>> Cc: 
>>>> Bcc: 
>>>> Date: Tue, 18 Feb 2020 11:53:34 -0800
>>>> Subject: Re: [Frameworks] OPEN CALL
>>>> Hi Ms baker,
>>>> 
>>>> I have a longish short called gibber eidolon. It's about 20 min. Long. 
>>>> Would you be interested in previewing it? It's only played publicly once 
>>>> so far. Thx.
>>>> 
>>>> -charles
>>>> 
>>>>> On Thu, Feb 6, 2020, 1:00 AM Nicole Baker  wrote:
>>>>> Hello frameworkers!
>>>>> I am at the very early stages of assembling a program of experimental 
>>>>> shorts to be shown in an online screening. This will be a streaming event 
>>>>> and is possibly ongoing.  Think of it like a cable access show for the 
>>>>> digital era.
>>>>> I am opening a call for experimental submission from any genre! Shorts 
>>>>> are best for logistics sake (file size) but I'm happy to work with you if 
>>>>> you want to show something long form.
>>>>> Pass the word along!  Thanks.
>>>>> Nicole Elaine Baker Peterson
>>>>> MFA in Visual Studies, 2019
>>>>> Pacific Northwest College of Art
>>>>> Hallie Ford School of Graduate Studies
>>>>> www.magiklantern.com
>>>>> 
>>>>> 
>>>>> ___
>>>>> FrameWorks mailing list
>>>>> FrameWorks@jonasmekasfilms.com
>>>>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>>>> 
>>>> 
>>>> 
>>>> -- Forwarded message --
>>>> From: mariah garnett 
>>>> To: Experimental Film Discussion List 
>>>> Cc: 
>>>> Bcc: 
>>>> Date: Tue, 18 Feb 2020 17:47:46 -0800
>>>> Subject: [Frameworks] Eclair npr
>>>> Hello all,
>>>> My eclair motor seems to have died. Anyone know how to fix it? Or, is 
>>>> anyone selling a 16mm camera with a crystal sync motor that can record 
>>>> dialog? I love the NPR/Angenieux lens combo but am open to arri sr series 
>>>> and others...
>>>> 
>>>> or does anyone want to buy a broken eclair npr?
>>>> lots of possibilities here!
>>>> best
>>>> mg
>>>> 
>>>> 
>>>> 
>>>> -- Forwarded message --
&

Re: [Frameworks] Eclair NPR

[Jeff Kreines]

Any reason for the Perfectone?  The flat base is nice but it’s bigger for 
handheld shooting. Alcan 54 is the desirable one. 


Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Feb 19, 2020, at 4:30 PM, mariah garnett  wrote:
> 
> 
> Any advice on where to get a perfectone motor? I've checked ebay but not sure 
> where else to look
> 
>> On Wed, Feb 19, 2020 at 1:59 PM Jon Behrens  wrote:
>> Hi here is a thought, you might consider just buying a new motor all 
>> together. Might be cheaper because there are tones of them out there.
>> 
>> Jon
>> 
>> Sent from my iPhone
>> 
>>> On Feb 19, 2020, at 5:39 AM, Ethan Berry  wrote:
>>> 
>>> You might see if Bernie O'Dougherty still works on NPR's. He has done work 
>>> on my NPR and ACL.
>>> ber...@super16inc.com
>>> Ethan Berry
>>> 
>>> 
>>> 
>>>> On Wed, Feb 19, 2020 at 6:59 AM  
>>>> wrote:
>>>> Send FrameWorks mailing list submissions to
>>>> frameworks@jonasmekasfilms.com
>>>> 
>>>> To subscribe or unsubscribe via the World Wide Web, visit
>>>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>>>> or, via email, send a message with subject or body 'help' to
>>>> frameworks-requ...@jonasmekasfilms.com
>>>> 
>>>> You can reach the person managing the list at
>>>>     frameworks-ow...@jonasmekasfilms.com
>>>> 
>>>> When replying, please edit your Subject line so it is more specific
>>>> than "Re: Contents of FrameWorks digest..."
>>>> Today's Topics:
>>>> 
>>>>1. Re: OPEN CALL (Charles Chadwick)
>>>>2. Eclair npr (mariah garnett)
>>>>3. Re: Eclair npr (Jeff Kreines)
>>>> 
>>>> 
>>>> 
>>>> -- Forwarded message --
>>>> From: Charles Chadwick 
>>>> To: Experimental Film Discussion List 
>>>> Cc: 
>>>> Bcc: 
>>>> Date: Tue, 18 Feb 2020 11:53:34 -0800
>>>> Subject: Re: [Frameworks] OPEN CALL
>>>> Hi Ms baker,
>>>> 
>>>> I have a longish short called gibber eidolon. It's about 20 min. Long. 
>>>> Would you be interested in previewing it? It's only played publicly once 
>>>> so far. Thx.
>>>> 
>>>> -charles
>>>> 
>>>>> On Thu, Feb 6, 2020, 1:00 AM Nicole Baker  wrote:
>>>>> Hello frameworkers!
>>>>> I am at the very early stages of assembling a program of experimental 
>>>>> shorts to be shown in an online screening. This will be a streaming event 
>>>>> and is possibly ongoing.  Think of it like a cable access show for the 
>>>>> digital era.
>>>>> I am opening a call for experimental submission from any genre! Shorts 
>>>>> are best for logistics sake (file size) but I'm happy to work with you if 
>>>>> you want to show something long form.
>>>>> Pass the word along!  Thanks.
>>>>> Nicole Elaine Baker Peterson
>>>>> MFA in Visual Studies, 2019
>>>>> Pacific Northwest College of Art
>>>>> Hallie Ford School of Graduate Studies
>>>>> www.magiklantern.com
>>>>> 
>>>>> 
>>>>> ___
>>>>> FrameWorks mailing list
>>>>> FrameWorks@jonasmekasfilms.com
>>>>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>>>> 
>>>> 
>>>> 
>>>> -- Forwarded message --
>>>> From: mariah garnett 
>>>> To: Experimental Film Discussion List 
>>>> Cc: 
>>>> Bcc: 
>>>> Date: Tue, 18 Feb 2020 17:47:46 -0800
>>>> Subject: [Frameworks] Eclair npr
>>>> Hello all,
>>>> My eclair motor seems to have died. Anyone know how to fix it? Or, is 
>>>> anyone selling a 16mm camera with a crystal sync motor that can record 
>>>> dialog? I love the NPR/Angenieux lens combo but am open to arri sr series 
>>>> and others...
>>>> 
>>>> or does anyone want to buy a broken eclair npr?
>>>> lots of possibilities here!
>>>> best
>>>> mg
>>>> 
>>>> 
>>>> 
>>>> -- Forwarded message --
&

Re: [Frameworks] Eclair NPR

[Jeff Kreines]

Good advice. Occam’s Razor. 

Try it with the motor off the camera, in case the camera is seized up. 

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Feb 19, 2020, at 1:55 PM, George, Sherman  wrote:
> 
> 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
>>> ___
>>> 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
> 
> Sherman George
> sgeo...@ucsd.edu
> 858-229-4368
> 
> 
> 
> ___
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Re: [Frameworks] Eclair NPR

[Jeff Kreines]

If you’re  in LA try Andree Martin:

https://www.amcamera.com/about/

You might also see if Whitehouse AV will tackle it. 

Which crystal motor do you have?  There were many for the NPR — KRYMO, BEALA, 
Perfectone, Aaton, and several conversions of DC motors like Hafflex.  Some 
will be easier to repair than others, but the boards are probably pretty easy 
to work on compared to modern electronics. 

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Feb 19, 2020, at 1:10 PM, 16mm Directory  wrote:
> 
> 
> 
> 
>> On Wed, Feb 19, 2020 at 7:57 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...
> 
> 
> 
> Mariah, 
> 
> I definitely agree with Scott, the motor can be easily detached and serviced, 
> though a full CLA or overhaul is likely in order. I service
> my camera on regular intervals, and never let it sit for too long without 
> running the motor, just to keep the mechanism lubricated. 
> 
> If you're in LA, I suggest trying Richard Bennett at Cinema Engineering 
> (http://www.cinemaengineering.com/). He can do some Eclair NPR 
> service, and likely has a source for parts. Also, when George retired and 
> Optical-Electro House shut down, Bob Allen, who used to work
> at OEH with George (and has years of experience with Eclair) was continuing 
> to do service. It's been a few years since I had this conversation
> with George, but here is the last contact I have for Bob Allen...323-732-0607 
> or 310-918-9017.
> 
> Last I checked with Alan Gordon and Birns & Sawyer, they no longer had folks 
> around who could perform this work. Otherwise, you have
> options in the midwest. Mansung (SMS Chicago) was still doing some work in 
> retirement, and Visual Products does service and has a cache 
> of NPR parts. Paul Scaglione is/was the main VP tech with Eclair knowledge. 
> 
> Lastly, for motor service, try Andrew at AZ spectrum (NY). He serviced my NPR 
> Alcan motor a few years back, still works great. That says a 
> lot since nobody liked working on the Alcan motors, not even George at OEH. 
> 
> Like Scott mentioned, if it's another NPR motor 
> (http://www.tfgtransfer.com/motors.htm), besides the Alcan, these are easy 
> for most techs to
> work on. 
> 
> Alain
> 
>  
> 
> 
> 
> 
>  
>> 
>> > 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
>> > ___
>> > 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
> 
> 
> -- 
> 
> 16mm Directory / 40 Frames
> Portland, Oregon USA
> 
> www.16mmdirectory.org
> www.40frames.org
> 
> ___
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Re: [Frameworks] Eclair NPR

[Jeff Kreines]

Not my choice of repair people...

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Feb 19, 2020, at 7:39 AM, Ethan Berry  wrote:
> 
> 
> You might see if Bernie O'Dougherty still works on NPR's. He has done work on 
> my NPR and ACL.
> ber...@super16inc.com
> Ethan Berry
> 
> 
> 
>> On Wed, Feb 19, 2020 at 6:59 AM  
>> wrote:
>> Send FrameWorks mailing list submissions to
>> frameworks@jonasmekasfilms.com
>> 
>> To subscribe or unsubscribe via the World Wide Web, visit
>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>> or, via email, send a message with subject or body 'help' to
>> frameworks-requ...@jonasmekasfilms.com
>> 
>> You can reach the person managing the list at
>> frameworks-ow...@jonasmekasfilms.com
>> 
>> When replying, please edit your Subject line so it is more specific
>> than "Re: Contents of FrameWorks digest..."
>> Today's Topics:
>> 
>>1. Re: OPEN CALL (Charles Chadwick)
>>2. Eclair npr (mariah garnett)
>>3. Re: Eclair npr (Jeff Kreines)
>> 
>> 
>> 
>> -- Forwarded message --
>> From: Charles Chadwick 
>> To: Experimental Film Discussion List 
>> Cc: 
>> Bcc: 
>> Date: Tue, 18 Feb 2020 11:53:34 -0800
>> Subject: Re: [Frameworks] OPEN CALL
>> Hi Ms baker,
>> 
>> I have a longish short called gibber eidolon. It's about 20 min. Long. Would 
>> you be interested in previewing it? It's only played publicly once so far. 
>> Thx.
>> 
>> -charles
>> 
>>> On Thu, Feb 6, 2020, 1:00 AM Nicole Baker  wrote:
>>> Hello frameworkers!
>>> I am at the very early stages of assembling a program of experimental 
>>> shorts to be shown in an online screening. This will be a streaming event 
>>> and is possibly ongoing.  Think of it like a cable access show for the 
>>> digital era.
>>> I am opening a call for experimental submission from any genre! Shorts are 
>>> best for logistics sake (file size) but I'm happy to work with you if you 
>>> want to show something long form.
>>> Pass the word along!  Thanks.
>>> Nicole Elaine Baker Peterson
>>> MFA in Visual Studies, 2019
>>> Pacific Northwest College of Art
>>> Hallie Ford School of Graduate Studies
>>> www.magiklantern.com
>>> 
>>> 
>>> ___
>>> FrameWorks mailing list
>>> FrameWorks@jonasmekasfilms.com
>>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>> 
>> 
>> 
>> -- Forwarded message --
>> From: mariah garnett 
>> To: Experimental Film Discussion List 
>> Cc: 
>> Bcc: 
>> Date: Tue, 18 Feb 2020 17:47:46 -0800
>> Subject: [Frameworks] Eclair npr
>> Hello all,
>> My eclair motor seems to have died. Anyone know how to fix it? Or, is anyone 
>> selling a 16mm camera with a crystal sync motor that can record dialog? I 
>> love the NPR/Angenieux lens combo but am open to arri sr series and others...
>> 
>> or does anyone want to buy a broken eclair npr?
>> lots of possibilities here!
>> best
>> mg
>> 
>> 
>> 
>> -- Forwarded message --
>> From: Jeff Kreines 
>> To: Experimental Film Discussion List 
>> Cc: 
>> Bcc: 
>> Date: Tue, 18 Feb 2020 22:00:12 -0600
>> Subject: Re: [Frameworks] Eclair npr
>> Try DuAll in NYC. Good luck. The cool thing about the NPR and ACL is that 
>> you can use C-Mount lenses. 
>> 
>> Jeff Kreines
>> Kinetta
>> j...@kinetta.com
>> kinetta.com
>> 
>> Sent from iPhone. 
>> 
>> > On Feb 18, 2020, at 7:48 PM, mariah garnett  
>> > wrote:
>> > 
>> > 
>> > Hello all,
>> > My eclair motor seems to have died. Anyone know how to fix it? Or, is 
>> > anyone selling a 16mm camera with a crystal sync motor that can record 
>> > dialog? I love the NPR/Angenieux lens combo but am open to arri sr series 
>> > and others...
>> > 
>> > or does anyone want to buy a broken eclair npr?
>> > lots of possibilities here!
>> > best
>> > mg
>> > ___
>> > 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] Eclair npr

[Jeff Kreines]

Try DuAll in NYC. Good luck. The cool thing about the NPR and ACL is that you 
can use C-Mount lenses. 

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Feb 18, 2020, at 7:48 PM, mariah garnett  wrote:
> 
> 
> Hello all,
> My eclair motor seems to have died. Anyone know how to fix it? Or, is anyone 
> selling a 16mm camera with a crystal sync motor that can record dialog? I 
> love the NPR/Angenieux lens combo but am open to arri sr series and others...
> 
> or does anyone want to buy a broken eclair npr?
> lots of possibilities here!
> best
> mg
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks

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Re: [Frameworks] Mac OS Catalina

[Jeff Kreines]

On Jan 10, 2020, at 12:36 PM, Adam Hyman  wrote:
> 
> Yes, they are tech companies who are trying to sell things under the guise 
> that it helps your creativity.  They are criminal in the way that all wealthy 
> people and companies under capitalism are criminal.

I’m not a fan of Adobe nor of FCPX. You might consider Blackmagic’s Resolve, 
which comes in a free version with most features enabled, and a paid version 
for $299 with perpetual free upgrades. 

Mac and PC and Unix versions. Works with lots of codecs. It’s the best software 
for grading and finishing, IMHO, and the editing and audio sections are now 
very good. 

It doesn’t cost anything to try, and no monthly tithing. 




Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 
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Re: [Frameworks] Camera question

[Jeff Kreines]

The Nalcom FTL 1000 was apparently made between 1973 and 1976.

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

> On Dec 11, 2019, at 6:34 PM, deluge000  wrote:
> 
> It may be a modified Nalcom FTL by the shape. The faceplate is different on 
> Warhol's camera seems larger as well not sure.
> 
> 
> 
> Sent from my Sprint Samsung Galaxy Note8.
> 
>  Original message 
> From: Ed Inman 
> Date: 12/11/19 5:01 PM (GMT-07:00)
> To: Experimental Film Discussion List 
> Subject: Re: [Frameworks] Camera question
> 
> I would like to know too. I wonder if it was a real working camera or rather 
> just a prop. The placement of the lens at the very top seems odd. I don't 
> think there would be room to place a Super 8 cartridge inside with the lens 
> in that position. --Ed
> 
> -Original Message- 
> From: "Claire Henry, Curatorial" 
> Sent: Dec 11, 2019 3:03 PM 
> To: Experimental Film Discussion List 
> Cc: "Jessica Palinski, Curatorial" 
> Subject: Re: [Frameworks] Camera question 
> 
> Ack, here’s the link.  Apologies!
>  
> Claire
>  
>  
> https://pro.magnumphotos.com/Catalogue/Burt-Glinn/1965/USA-NYC-Andy-WARHOL-Edie-SEDGWICK-and-Chuck-WEIN-NN112607.html
>  
> <https://pro.magnumphotos.com/Catalogue/Burt-Glinn/1965/USA-NYC-Andy-WARHOL-Edie-SEDGWICK-and-Chuck-WEIN-NN112607.html>
>  
>  
> From: FrameWorks [mailto:frameworks-boun...@jonasmekasfilms.com] On Behalf Of 
> Claire Henry, Curatorial
> Sent: Wednesday, December 11, 2019 4:00 PM
> To: Experimental Film Discussion List (frameworks@jonasmekasfilms.com) 
> 
> Cc: Jessica Palinski, Curatorial 
> Subject: [Frameworks] Camera question
>  
> Hi Frameworkers!
>  
> We need some help identifying a camera in a photo of Warhol for our catalogue 
> raisonné.  Does anyone know what kind of camera Warhol is holding in these 
> photos by Burt Glinn from 1965?  I’m thinking Super 8, but am unsure.  If 
> anyone could provide any help that would be amazing and very welcomed.
>  
>  
> Thanks!
>  
> Claire
>  
>  
> Claire K. Henry
> Assistant Curator
> The Andy Warhol Film Project
> Whitney Museum of American Art
> 99 Gansevoort Street
> New York, NY 10014
> Tel: 212 570 7740
> Fax: 212 929 2019
>  
> ___
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Re: [Frameworks] Camera question

[Jeff Kreines]

Claire:

The camera is a Concord MTC-11, a relatively cheap and compact B&W video 
camera.  Mostly used for surveillance.  Warhol used one in August, 1965 when 
Norelco lent him a videotape recorder (in addition to the Norelco camera).

He apparently carried it around as a fetish object/prop, since in most of these 
situations the camera wasn’t attached to a recorder or even a monitor.  You can 
see it (with a Switar lens instead of the Canon 25-100 zoom shown in this 
photo) at a Beatles press conference in 1965 (misidentified as 1964 by Getty).  
It’s mentioned in a couple of books about Warhol, and IIRC also mentions it in 
the October, 1965 article in “Tape Recording” magazine.

Blake Gopnik and Greg Pierce asked me about it last year, but apparently for a 
different book.


Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

> On Dec 11, 2019, at 3:03 PM, Claire Henry, Curatorial 
>  wrote:
> 
> Ack, here’s the link.  Apologies!
>  
> Claire
>  
>  
> https://pro.magnumphotos.com/Catalogue/Burt-Glinn/1965/USA-NYC-Andy-WARHOL-Edie-SEDGWICK-and-Chuck-WEIN-NN112607.html
>  
> <https://pro.magnumphotos.com/Catalogue/Burt-Glinn/1965/USA-NYC-Andy-WARHOL-Edie-SEDGWICK-and-Chuck-WEIN-NN112607.html>
>  
>  
> From: FrameWorks [mailto:frameworks-boun...@jonasmekasfilms.com] On Behalf Of 
> Claire Henry, Curatorial
> Sent: Wednesday, December 11, 2019 4:00 PM
> To: Experimental Film Discussion List (frameworks@jonasmekasfilms.com) 
> 
> Cc: Jessica Palinski, Curatorial 
> Subject: [Frameworks] Camera question
>  
> Hi Frameworkers!
>  
> We need some help identifying a camera in a photo of Warhol for our catalogue 
> raisonné.  Does anyone know what kind of camera Warhol is holding in these 
> photos by Burt Glinn from 1965?  I’m thinking Super 8, but am unsure.  If 
> anyone could provide any help that would be amazing and very welcomed.
>  
>  
> Thanks!
>  
> Claire
>  
>  
> Claire K. Henry
> Assistant Curator
> The Andy Warhol Film Project
> Whitney Museum of American Art
> 99 Gansevoort Street
> New York, NY 10014
> Tel: 212 570 7740
> Fax: 212 929 2019
>  
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks

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Re: [Frameworks] Camera question

[Jeff Kreines]

Claire:

Where do we find the photo?  If it’s the photo I think it is, I answered that 
for someone working on the catalog a couple of years ago. 

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Dec 11, 2019, at 3:00 PM, Claire Henry, Curatorial 
>  wrote:
> 
> Hi Frameworkers!
>  
> We need some help identifying a camera in a photo of Warhol for our catalogue 
> raisonné.  Does anyone know what kind of camera Warhol is holding in these 
> photos by Burt Glinn from 1965?  I’m thinking Super 8, but am unsure.  If 
> anyone could provide any help that would be amazing and very welcomed.
>  
>  
> Thanks!
>  
> Claire
>  
>  
> Claire K. Henry
> Assistant Curator
> The Andy Warhol Film Project
> Whitney Museum of American Art
> 99 Gansevoort Street
> New York, NY 10014
> Tel: 212 570 7740
> Fax: 212 929 2019
>  
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
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Re: [Frameworks] X-Ray motion-pictures

[Jeff Kreines]

Great post, old-timer!

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Nov 20, 2019, at 9:53 AM, Scott Dorsey  wrote:
> 
> Okay, old guy tells stories.
> 
> 
> Back in the twenties and thirties, doctors would employ open fluoroscopes,
> with an X-ray source behind the patient and a fluorescent screen in front
> of them.  X-rays passing through the patient would cause the screen to 
> illuminate and the doctor could see what was going on inside in realtime.
> 
> Many of the old classic sequences that still show up in educational films
> such as the man eating and man voicing different vowels and consonants,
> were shot off the screen of an open fluoroscope.
> 
> This approach has some problems namely it takes a lot of radiation to
> get a nice bright image, and all of that radiation (not just the backscatter)
> is pointed at the doctor.  So although you can see open fluoroscopes in old
> movies where W.C. Fields has swallowed his cigar, you will not see them in
> use today.
> 
> Because doctors needed to see movement and didn't want to irradiate themselves
> constantly, a number of manufacturers made cinefluoroscope systems with a 
> Mitchell or Acme 35mm pin-registered camera movement, a very fast lens,
> and a fluorescent screen all in one package.  The high speed Leitz Noctilux
> lenses were originally designed for these applications.
> 
> These were in common use for heart imaging until maybe a decade ago, and
> if you are looking for a film image you may be able to find cardiological
> radiologists around with a film cineangography system.  These systems all
> provide full aperture 35mm images.  So if you want 16mm you'd have to get
> the lab to bump it down.
> 
> All of these systems today have been replaced with high resolution video
> systems.  The nice thing about the video systems is that they result in
> less radiation to the patient because the light sensor is faster than Tri-X.
> These systems are small and convenient enough that some cardiologists will
> have their own system rather than contracting it out to a radiologist.
> The bad thing about them is that they tend to have more smear on motion
> than the film systems because of the longer persistence phosphors.
> 
> Now... if you don't need to deal with human beings, you can pour a whole
> lot more radiation into the object.  There are a bunch of fairly inexpensive
> X-ray inspection systems for PC boards that give you realtime video with
> decent resolution.  Not very high energy radiation since they just need to
> be looking at thin board traces for the most part.
> 
> So... if I were looking to rent some time on a machine, I would ask a 
> cardiologist if they could recommend a local radiology guy, or I would
> talk to PC board fab people, depending on whether I was looking at people
> or objects.  I have only done static x-rays, not moving ones, and there
> aren't a lot of folks doing moving ones artistically today so it could be
> really cool.
> --scott
> 
> 
> lens was originally designed 
> 
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Re: [Frameworks] Help with digitizing reel-to-reel tapes

[Jeff Kreines]

Bill Seery at Mercer Sound is very good. 

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Nov 2, 2019, at 6:28 PM, Dennis Doros  wrote:
> 
> I've been using Digital Media Services in New York. Trevor Boelter
> EVP, Sales  818.846.4000  818.679.1056 cell 
> tboel...@digitalmediaservices.com 
> 
> Fondest regards,
> Dennis Doros
> Milestone Film & Video • PO Box 128 • Harrington Park, NJ 07640
> Phone: +1 (201) 767-3117 • Email: milefi...@gmail.com • www.milestone.film
> 
> President, Association of Moving Image Archivists
> amiapresid...@amianet.org • www.amianet.org
> AMIA 2019 • 11/13–16  Baltimore, MD
> 
> Pronouns: He, Him, His
> 
> JOIN MILESTONE'S MAILING LIST TODAY!
> Support us on Facebook and Twitter!
> 
> 
> 
> 
> 
> 
>> On Sat, Nov 2, 2019 at 5:32 PM Scott Dorsey  wrote:
>> Steve Puntolillo at Sonicraft is the first place I would go.  First of all,
>> they are careful people and will set their machines up properly for your
>> tapes.  If your tapes have tones, they will line them up, if they don't they
>> will set the azimuth by ear.  And then they are able to do clean unattended
>> transfers which will cost you less than having an attended transfer done.
>> 
>> If you have 3 3/4 ips tapes, likely they were made on consumer machines which
>> might be quarter-track instead of normal professional half-track 
>> configuration
>> and they can identify those and make sure they have the right headstack in
>> the machine.
>> 
>> I can do transfers like this but I'll charge a whole lot more money because 
>> I have one machine that will need to be reconfigured for every different
>> format and then re-aligned at the end for normal studio configuration and 
>> every time I do that you pay for the time.  If you send it to someone like
>> Sonicraft that specializes in the work, they can do it faster and that means
>> doing it cheaper because they have machines already configured and they 
>> don't need to be swapping heads and speed control boards all the time.
>> 
>> If you think there is ANY chance that any of these tapes have center track
>> pilot tone or timecode, warn the transfer guy in advance and make sure he 
>> has a machine with nagratone heads so he can pull the synch signal off.
>> --scott
>> 
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Re: [Frameworks] The Film-Makers Coop IndieGoGo Campaign Extended

[Jeff Kreines]

MM:

Give us a link, please!

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Sep 4, 2019, at 12:01 PM, Filmmakers Cooperative 
>  wrote:
> 
> Dearest Frameworkers,
> 
> The New York Film-Makers Coop has decided to extend our IndieGoGo campaign 
> until September 15th. With perks by Lynne Sachs, Mark Street, Kat Bauer, Josh 
> Lewis, Bradley Eros and more, our IndieGoGo gives you a chance to take part 
> in unique experiences with our film community. In addition we have rare DVDs 
> of films by Barbara Rubin, Ed Owens, Marie Menken, Storm De Hirsch, Jose 
> Rodriguez-Soltero, and more!  This is a rare chance to own a part of iconic 
> experimental film history and help us persevere this culture for the next 
> generation by allowing us to purchase a climate control cooling system. 
> Please keep sharing and supporting our campaign! Thank you! 
> 
> Best,
> FMC IndieGoGo Team 
> 
> MM Serra, Executive Director
> Emily Apter, Assistant to Director & Assistant Curator 
> Kaila Chambers, Film Technician & Assistant 
> Sheldon Henderson, Digital Media Technician 
> NACG/The Film-Makers' Cooperative
> 475 Park Ave South, 6th Floor
> New York, NY 10016
> 212-267-5665
> www.film-makerscoop.com
> 
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Re: [Frameworks] Hand made contact printer

[Jeff Kreines]

Contact printer or optical printer?  You don’t need a camera for s contact 
printer. Not sure you need the Beser unless you have a color lamphouse and are 
going to use it for filtration. 

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Aug 16, 2019, at 1:50 PM, 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.
> 
> M
> 
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Re: [Frameworks] Tri x reversal super 8

[Jeff Kreines]

http://www.cameramanuals.org/flashes_meters/sekonic_l-28c2.pdf

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Jul 24, 2019, at 3:54 PM, Jeff Kreines  wrote:
> 
> Hold the meter in the same light that strikes your subject, and point the 
> dome back at the camera lens. That’s how you use an incident meter. Don’t use 
> the slide unless you know what it does. 
> 
> Use 1/50th of a second for most cameras at 24 FPS unless you have to 
> compensate for the camera’s prism. 
> 
> Compare to the camera’s light reading.  Are they in the ballpark?
> 
> If you can, shoot a test in 1/2 stop increments from 2.5 stops under to 2.5 
> stops over. That will help you figure out if your meter is accurate and if 
> you are using it properly. 
> 
> Good luck!
> 
> Jeff Kreines
> Kinetta
> j...@kinetta.com
> kinetta.com
> 
> Sent from iPhone. 
> 
>> On Jul 24, 2019, at 2:50 PM, Ned Kihn  wrote:
>> 
>> 
>>> On Wed, Jul 24, 2019, 4:04 AM FrameWorks Admin  
>>> wrote:
>>> Hi Shumona,
>>> 
>>> Actually the ASA depends on how you develop it. You can also push or pull 
>>> by choosing your own ASA setting.
>>> If you develop as negative, the ASA is usually rated at 400, and as 
>>> reversal at 200, in daylight.
>>> 
>>> -Pip
>>> 
>>> 
>>> 
>>>>> On Jul 24, 2019, at 7:43 AM, Shumona Goel  wrote:
>>>>> 
>>>>>  Dear Frameworks, 
>>>> 
>>>> I am shooting on super 8 tri x reversal black and white, stock number 
>>>> 7266. 
>>>> 
>>>> Do i rate this in daylight at 200 Asa? 
>>>> 
>>>> If i rate it at 200 Asa, do I need to open up any further than what the 
>>>> light meter indicates? I am using a sekonic analog meter. 
>>> 
>>> ___
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Re: [Frameworks] Tri x reversal super 8

[Jeff Kreines]

Hold the meter in the same light that strikes your subject, and point the dome 
back at the camera lens. That’s how you use an incident meter. Don’t use the 
slide unless you know what it does. 

Use 1/50th of a second for most cameras at 24 FPS unless you have to compensate 
for the camera’s prism. 

Compare to the camera’s light reading.  Are they in the ballpark?

If you can, shoot a test in 1/2 stop increments from 2.5 stops under to 2.5 
stops over. That will help you figure out if your meter is accurate and if you 
are using it properly. 

Good luck!

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Jul 24, 2019, at 2:50 PM, Ned Kihn  wrote:
> 
> 
>> On Wed, Jul 24, 2019, 4:04 AM FrameWorks Admin  
>> wrote:
>> Hi Shumona,
>> 
>> Actually the ASA depends on how you develop it. You can also push or pull by 
>> choosing your own ASA setting.
>> If you develop as negative, the ASA is usually rated at 400, and as reversal 
>> at 200, in daylight.
>> 
>> -Pip
>> 
>> 
>> 
>>>> On Jul 24, 2019, at 7:43 AM, Shumona Goel  wrote:
>>>> 
>>>>  Dear Frameworks, 
>>> 
>>> I am shooting on super 8 tri x reversal black and white, stock number 7266. 
>>> 
>>> Do i rate this in daylight at 200 Asa? 
>>> 
>>> If i rate it at 200 Asa, do I need to open up any further than what the 
>>> light meter indicates? I am using a sekonic analog meter. 
>> 
>> ___
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Re: [Frameworks] Tri x reversal super 8

[Jeff Kreines]

How you use a light meter can also be a significant factor — poor metering 
technique can give readings that are several stops off. My personal preference 
is an incident meter. 

With reversal stock always err towards slight underexposure. 

Good luck. Shoot short tests. 

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

On Jul 24, 2019, at 7:20 AM, Scott Dorsey  wrote:

>> I am not getting it. Is 200 ISO the native speed of the film? Or is it 160 ?
> 
> It is both.  The film is less sensitive to red light than to blue light,
> so if you expose it in red light, the effective ASA is lower.  If you
> are exposing with tungsten light, you use 160 ASA, while if you are exposing
> with daylight, you use 200 ASA. 
> 
>> Most Super-8 cameras have an orange filter for daylight.
>> But for b&w one would always open the filter right?
> 
> Right, you disable the 85 filter.  It's a bad idea in any case.
> --scott
> 
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Re: [Frameworks] 16mm processing

[Jeff Kreines]

You can increase density with:

More agitation 
Stronger (less diluted) developer
Higher temperatures
Longer development

Or a combination of the above.

Rather than process a whole roll, tear off a few one-foot pieces and process 
them with time/temperature variations until you get what you want. Then process 
the entire roll. 

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Jul 3, 2019, at 5:21 PM, Nicole Baker  wrote:
> 
> I am processing full 100' lengths in buckets.  I measure out 2 gallons worth 
> of developer and then pull the film off the spool into the bucket in the 
> darkroom.  I start the development time once all the film in in the bucket.
> 
> Thank you for your input!  I will try extending the time.  Do you think it 
> would benefit at all to also use a stronger dilution? 25:1?
> 
> Nicole Elaine Baker
> MFA in Visual Studies, 2019
> Pacific Northwest College of Art
> Hallie Ford School of Graduate Studies
> www.magiklantern.com
> 
> 
> 
> 
>> On Wed, Jul 3, 2019 at 3:14 PM Scott Dorsey  wrote:
>> Are you processing short lengths in a tank or are you using a rewind tank
>> or something else?
>> 
>> A rewind tank will greatly increase required development time.
>> 
>> "Expose for the shadows, develop for the highlights."  If the highlights
>> are grey, extend the development time.
>> --scott
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Re: [Frameworks] film recorder

[Jeff Kreines]

Years ago I used to make 35mm film recorders using 4K LCDs and Mitchell 
cameras. You really want to use a camera that can shoot single frames at longer 
exposures (not an Arri unless you have an animation motor and capping shutter) 
unless you are using a fast stock. You need a way to trigger the frame advance 
of the computer to the camera trigger.  You can get excellent results.  But 
with all the testing and hassles required this only makes sense if you have a 
lot of footage.  Otherwise it will be cheaper and better to use a lab like 
Colorlab. 

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Apr 13, 2019, at 4:38 PM, Jeff Kreines  wrote:
> 
> The most affordable way to take digital files directly to a (2K) 35mm print 
> is to use a Cinevator. Since you don’t need a negative, you save a lot.  
> Colorlab has one and I believe the cost is around $.50 per 35mm foot with 
> analog sound. (If you want Dolby Digital there is a Dolby royalty that’s 
> quite high.) They also have a 4K Arrilaser if you want a 35mm negative, and 
> their own 16mm 5K film recorder if you want 16mm. 
> 
> Colorlab is in Rockville, MD. Very friendly to experimental filmmakers. 
> 
> Jeff Kreines
> Kinetta
> j...@kinetta.com
> kinetta.com
> 
> Sent from iPhone. 
> 
>> On Apr 13, 2019, at 2:44 PM, Roger Carr  wrote:
>> 
>> Folks,
>> 
>> I'm looking for a film recorder to make a few minutes of 35 mm film from 
>> digital animations.  I'd love to rent one, even buy one, or find someone who 
>> would do the recording on their recorder for $$.  Any leads gratefully 
>> appreciate!
>> 
>> Thanks,
>> 
>> Roger
>> 
>> -- 
>> )'(   )'( )'(   )'(   )'(   )'(  
>>  )'(  )'(   )'(  )'(   )'( 
>> 
>> Roger Carr mobile: 510-735-5407 
>> Camp Shasta:  2645 Shasta Road, Berkeley, CA 94708  510-486-0481
>> Bumpety Bump Art Machines: 2743 Ninth Street, Berkeley, CA 94710  
>> 510-204-9375
>> 
>> 
>> ___
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>> FrameWorks@jonasmekasfilms.com
>> https://mailman-mail5.webfaction.com/listinfo/frameworks
> 

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Re: [Frameworks] film recorder

[Jeff Kreines]

The most affordable way to take digital files directly to a (2K) 35mm print is 
to use a Cinevator. Since you don’t need a negative, you save a lot.  Colorlab 
has one and I believe the cost is around $.50 per 35mm foot with analog sound. 
(If you want Dolby Digital there is a Dolby royalty that’s quite high.) They 
also have a 4K Arrilaser if you want a 35mm negative, and their own 16mm 5K 
film recorder if you want 16mm. 

Colorlab is in Rockville, MD. Very friendly to experimental filmmakers. 

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Apr 13, 2019, at 2:44 PM, Roger Carr  wrote:
> 
> Folks,
> 
> I'm looking for a film recorder to make a few minutes of 35 mm film from 
> digital animations.  I'd love to rent one, even buy one, or find someone who 
> would do the recording on their recorder for $$.  Any leads gratefully 
> appreciate!
> 
> Thanks,
> 
> Roger
> 
> -- 
> )'(   )'( )'(   )'(   )'(   )'(   
> )'(  )'(   )'(  )'(   )'( 
> 
> Roger Carr mobile: 510-735-5407 
> Camp Shasta:  2645 Shasta Road, Berkeley, CA 94708  510-486-0481
> Bumpety Bump Art Machines: 2743 Ninth Street, Berkeley, CA 94710  510-204-9375
> 
> 
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Re: [Frameworks] Fixed Pattern Noise in 2K Scan

[Jeff Kreines]

What was it scanned on?  Fixed-pattern noise typically comes from the sensor of 
the scanner. 

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Mar 20, 2019, at 10:22 AM, Isaac Brooks  wrote:
> 
> Hi - 
> 
> Can anyone advise on eradicating or reducing fixed pattern noise in a 2K scan 
> that I have of some 16mm selects? The original is 7285, and during the darker 
> shots - especially when the camera is moving - the vertical white lines are 
> noticeable. The file is a ProRes . 
> 
> If rescanning is it, then please let me know. 
> 
> Many thanks in advance, 
> 
> Isaac 
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Re: [Frameworks] TAGARNO 35AX-XENON

[Jeff Kreines]

Sure looks like it, Scott. 

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Mar 20, 2019, at 4:03 AM, Scott Dorsey  wrote:
> 
> Is this a machine intended for medical use, to view cineangiograms?
> --scott
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Re: [Frameworks] Look at this on eBay

[Jeff Kreines]

Actually, it was used for some sort of cine-microscopy work. Not sure exactly 
how, but I think you could compare two samples by adjusting the pivoting 
mirrors.  Note the long extension tube on the lens. 

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Mar 17, 2019, at 5:13 PM, Nicole Baker  wrote:
> 
> I suspected the same thing...
> 
> 
>> On Sun, Mar 17, 2019, 2:46 PM Larry Urbanski  wrote:
>> I'm sure it was used to making titles.
>> 
>>> On Sun, Mar 17, 2019 at 2:23 PM Nicole Baker  wrote:
>>> https://rover.ebay.com/rover/0/0/0?mpre=https%3A%2F%2Fwww.ebay.com%2Fulk%2Fitm%2F233150263296
>>> 
>>> Does anyone know what the "weird lighting system" is?
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Re: [Frameworks] Kodak Model A

[Jeff Kreines]

Sherman:

There’s a Facebook group that spends a lot of time discussing the Cine Kodak 
Model A (and all its variants). 

It’s the Antique and Vintage  Movie Camera Appreciation Page — a public group, 
no need to join. 

FB can be useful. Yes, you become the product they sell, but everyone is 
selling your data...

Best,

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Mar 17, 2019, at 2:12 PM, Buck Bito - Movette  wrote:
> 
> Hi Sherman,
> In case no one has ideas here, try the AMIA listserve:
> https://amianet.org/engage/amia-l-listserv/
> 
> A member there borrowed a restored/repaired Model A a couple of years ago
> and shot some film. I got to crank it as well - what a gorgeous camera!
> 
> -Buck Bito - Movette
> 
>> On Sun, March 17, 2019 11:53 am, George, Sherman wrote:
>> 
>> 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] 16mm black film for scratching

[Jeff Kreines]

Colorlab sells 16mm black leader for negative cutting. It’s fogged and 
processed optical track stock, I think. Very dense. And not polyester base. 

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Feb 14, 2019, at 10:04 PM, Huckleberry Lain  
> wrote:
> 
> Hey all,
> Tryin to see if there's any place to purchase 16mm black film for direct 
> manipulation techniques any more.
> 
> Or am I down to purchasing a roll of tri-x and sending it to the lab 
> unexposed?
> 
> Thanks in advance.
> Huck
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Re: [Frameworks] Western Cine guide to editing 16mm film?

[Jeff Kreines]

This might be what you are after. Labs sometimes distributed this under their 
own name. There are later editions. 



Handbook: Recommended Procedures for Motion PictHandbook: Recommended 
Procedures for Motion Picture and Video Laboratory Services.ure and Video 
Laboratory Services. 
ACVL 

Sent using Amazon Mobile for iPhone 


Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Dec 14, 2018, at 6:31 PM, Eric Theise  wrote:
> 
> The frame says –
> 
> Download this Exremely [sic] Helpful Word Document, Courtesy of: MPS
> 
> "..Your workprint and tracks serve as the "blue print" for work 
> performed at the laboratory. The leaders on the head and tail of your rolls 
> of film provide for proper syncing and handling, not only on your rolls, but 
> also, on the rolls created later during sound rerecording, negative cutting, 
> and laboratory work. Marks on the workprint show the Negative Cutter where 
> special effects are required so that the "A&B" rolls can be assembled. The 
> lab uses these same marks to cue the printer to produce those effects. The 
> correct preparation of your workprint is important to the completion of your 
> production. Errors made because of incomplete or incorrect instructions can 
> be very costly to you in both budget and deadline. We, at Motion Picture 
> Services, have an interest in helping you through this stage of your 
> production. We invite your questions and ask you to call us for help or 
> clarification with your production, workprint preparation, and schedules 
> (303-777-2110). We have produced the attached drawings to show a minimum 
> requirement for leaders and effects marks. Other publications such as the 
> "ACVL Handbook" may provide additional information that would be useful to 
> you..."
> 
> – so that doc didn't originate with Western Cine/Cinema Lab. The page also 
> has an image that looks like a return address sticker that says:
> 
> Motion Picture Services
> Susie Phillips, (303) 777 2110
> 1115 S. Josephine, Denver, Co. 80210
> 
> Post back here if you ever find it, sounds useful.
> 
> 
>> On Fri, Dec 14, 2018 at 4:24 PM Eric Theise  wrote:
>> Hi Jason,
>> 
>> I think this must be what you're looking for but it doesn't appear that the 
>> Wayback Machine actually archived it, just the frame-based site that 
>> contained it.
>> 
>> https://web.archive.org/web/20040627095859fw_/http://www.thecinemalab.com:80/booklet.zip
>> 
>> Eric
>> 
>> 
>>> On Fri, Dec 14, 2018 at 4:11 PM Jason Halprin  wrote:
>>> Hi All,
>>> 
>>> In one of my computer updates, I seem to no longer have a pdf of a guide to 
>>> 16/35mm film editing that was originally put together by Western Cine. As I 
>>> recall, this included guidelines for marking your workprint, preparing 
>>> negatives for A/B rolling, and essentially the whole process that someone 
>>> working with a negative cutter (or a negative cutter themselves) would want 
>>> to follow.
>>> 
>>> Does anyone know what I'm referring to? Or, where I might find it? If I 
>>> recall, I downloaded it from the Cinema Lab (successor to Western Cine) 
>>> website back in the early 2000s.
>>> 
>>> Thanks in Advance!
>>> 
>>> Jason Halprin
>>> jihalp...@gmail.com
>>> jasonhalprin.com
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Re: [Frameworks] Western Cine guide to editing 16mm film?

[Jeff Kreines]

It may be the ACL handbook, association of cinema labs. A quick internet search 
yielded nothing. 

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Dec 14, 2018, at 6:10 PM, Jason Halprin  wrote:
> 
> Hi All,
> 
> In one of my computer updates, I seem to no longer have a pdf of a guide to 
> 16/35mm film editing that was originally put together by Western Cine. As I 
> recall, this included guidelines for marking your workprint, preparing 
> negatives for A/B rolling, and essentially the whole process that someone 
> working with a negative cutter (or a negative cutter themselves) would want 
> to follow.
> 
> Does anyone know what I'm referring to? Or, where I might find it? If I 
> recall, I downloaded it from the Cinema Lab (successor to Western Cine) 
> website back in the early 2000s.
> 
> Thanks in Advance!
> 
> Jason Halprin
> jihalp...@gmail.com
> jasonhalprin.com
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[Frameworks] Charles Cohen buys Landmark

[Jeff Kreines]

Charles Cohen also gave a home to Filmmaker’s Coop in one of his NYC buildings.

https://www.prnewswire.com/news-releases/cohen-media-group-buys-landmark-theatres-from-wagnercuban-companies-300760201.html?utm_source=CNN+Media:+Reliable+Sources
 

Jeff Kreines
Kinetta
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Re: [Frameworks] speaking of Bleu Shut...

[Jeff Kreines]

Definitely not a lab effect. 

In the sixties, when fisheye lenses were a craze, those with no money for a 
real fisheye used a trick from Popular Photography.  You’d take a little 
peephole viewer (like you find in apartment building doors) and mount it to a 
lens cap that you’ve drilled a hole in.  Looks like that to me.

I don’t see the small black center hole in your photos, so I can’t comment on 
that.

Jeff “projected a Bob Nelson retrospective in Chicago in ’72 and met Tom 
Palazzolo because of it” Kreines

> On Oct 29, 2018, at 4:22 PM, Eric Theise  wrote:
> 
> I attended PFA's screening of Luminous Procuress a few weeks back 
> (https://bampfa.org/event/out-vault-luminous-procuress 
> <https://bampfa.org/event/out-vault-luminous-procuress>) and was startled to 
> see an effect I've only ever associated with Robert Nelson's Bleu Shut. There 
> are at least two sections in Nelson's film – one where a group of people are 
> repeatedly sticking their tongues out, one where a man is teetering around on 
> a child's (bi-? tri-?) cycle before toppling into a large puddle of water, 
> both in slow motion – where there's a kind of fisheye view with a small, very 
> black hole at the center of the disk. Curator Emeritus Steve Seid thought it 
> was a lab effect but I'm curious if any of you know how it was made, what the 
> effect is called, and if you know of any other films that use it.
> 
> 
> 
> 
> Grateful to Albert and the "clock" thread for reminding me to ask.
> 
> Eric
> 
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Re: [Frameworks] 16mm Editing Equipment

[Jeff Kreines]

For those reeely big reels. 

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Aug 3, 2018, at 3:59 AM, Rob Gawthrop  wrote:
> 
> eighteen foot rewinds!
> 
>> On 3 Aug 2018, at 02:46, Dominic Angerame  wrote:
>> 
>> I have a matching pair of rewinds with universal shafts 18' long and stands 
>> for them. They are listed on Ebay  (323377271375) will sell at a discount to 
>> filmmakers on Frameworks. Shipping extra.
>> 
>> Also 16mm Moviscop on Ebay (323371063917) also a 20% discount for filmmakers 
>> on Frameworks. Shipping extra
>> 
>> Contact me off site domi...@cinemod.net
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Re: [Frameworks] Documentaries within/with a group subject and participatory filmmaker(s)

[Jeff Kreines]

Eliminating mediocre docudramas from the genre “documentaries” is hardly 
narrowing the definition. I dislike the D-word, perhaps because it has become 
meaningless due to arguments like this. 

I prefer the term “non-fiction.”

Punishment Park is a somewhat clueless exercise using actors, um, enunciating 
their “feelings,” as you point out. 

I suppose one could view it as a “documentary” about actors exploring their 
“feelings,” but it fails as that. 

This reminds me of the Academy awarding “Best Documentary” to a Wolper-produced 
insect-fear film called The Hellstrom Chronicles.  I suppose the insect footage 
might be “real.”  But little else. 

The late-60s and early 70s spawned a lot of faux-documentaries, or films that 
coopted that era’s non-fiction style. Is FACES a documentary?  Wanda?  The 
Candidate?  What about Spinal Tap?

I realize that few people care about these distinctions anymore.  

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Jul 10, 2018, at 3:43 PM, Scott MacDonald  wrote:
> 
> Naaah, Punishment Park is not just faux doc style applied to fiction. Watkins 
> devised a fictional situation (based on aspects of the political reality of 
> that moment and a premonition of where reality might go next, as of 1970), 
> set up so that actors playing their real ideological selves (that is, cast to 
> play themselves and improvise their own dialogue) could enunciate what they 
> were actually feeling in 1971 and have their impassioned arguments with each 
> other documented--as the war in Vietnam continued.
> 
> I don't think Sonya is looking for a narrow definition of "documentary." 
> 
>> On Tue, Jul 10, 2018 at 3:47 PM, Jeff Kreines  wrote:
>> None of those Peter Watkins films are documentaries. Faux-documentary style 
>> applied to fiction does not a documentary make.  You should know better. 
>> 
>> Jeff Kreines
>> Kinetta
>> j...@kinetta.com
>> kinetta.com
>> 
>> Sent from iPhone. 
>> 
>>> On Jul 10, 2018, at 2:09 PM, luis ?  wrote:
>>> 
>>> 25Cines/seg (2017) Luis Macías
>>> 
>>> 
>>> 
>>> 
>>>> El mar., 10 jul. 2018 a las 20:17, Jeff Kreines () 
>>>> escribió:
>>>> Demon Lover Diary, by Joel DeMott. 
>>>> 
>>>> Jeff Kreines
>>>> Kinetta
>>>> j...@kinetta.com
>>>> kinetta.com
>>>> 
>>>> Sent from iPhone. 
>>>> 
>>>>> On Jul 10, 2018, at 12:22 PM, Sonya Mladenova  
>>>>> wrote:
>>>>> 
>>>>> Hello everyone,
>>>>> 
>>>>> Looking for documentary films shot with/within a group of people engaged 
>>>>> in an activity or some kind of project, independently or in an organized 
>>>>> environment, in which the filmmaker is a visible and/or an active 
>>>>> participatory presence. I'm especially interested in films from the last 
>>>>> 25-30 years. I'm investigating the relationship between the filmed 
>>>>> person(s) and the person(s) filming, whatever the configuration.
>>>>> 
>>>>> Somes examples, but not limited in scope:
>>>>> Starless Dreams by Mehrdad Oskouei 
>>>>> À ciel ouvert by Mariana Otero
>>>>> La moindre des choses by Nicolas Philibert
>>>>> 
>>>>> Many many thanks,
>>>>> 
>>>>> Sonya
>>>>> 
>>>>> 
>>>>> 
>>>>> ___
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>> 
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> 
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Re: [Frameworks] Documentaries within/with a group subject and participatory filmmaker(s)

[Jeff Kreines]

None of those Peter Watkins films are documentaries. Faux-documentary style 
applied to fiction does not a documentary make.  You should know better. 

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Jul 10, 2018, at 2:09 PM, luis ?  wrote:
> 
> 25Cines/seg (2017) Luis Macías
> 
> 
> 
> 
>> El mar., 10 jul. 2018 a las 20:17, Jeff Kreines () 
>> escribió:
>> Demon Lover Diary, by Joel DeMott. 
>> 
>> Jeff Kreines
>> Kinetta
>> j...@kinetta.com
>> kinetta.com
>> 
>> Sent from iPhone. 
>> 
>>> On Jul 10, 2018, at 12:22 PM, Sonya Mladenova  
>>> wrote:
>>> 
>>> Hello everyone,
>>> 
>>> Looking for documentary films shot with/within a group of people engaged in 
>>> an activity or some kind of project, independently or in an organized 
>>> environment, in which the filmmaker is a visible and/or an active 
>>> participatory presence. I'm especially interested in films from the last 
>>> 25-30 years. I'm investigating the relationship between the filmed 
>>> person(s) and the person(s) filming, whatever the configuration.
>>> 
>>> Somes examples, but not limited in scope:
>>> Starless Dreams by Mehrdad Oskouei 
>>> À ciel ouvert by Mariana Otero
>>> La moindre des choses by Nicolas Philibert
>>> 
>>> Many many thanks,
>>> 
>>> Sonya
>>> 
>>> 
>>> 
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Re: [Frameworks] Documentaries within/with a group subject and participatory filmmaker(s)

[Jeff Kreines]

Demon Lover Diary, by Joel DeMott. 

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Jul 10, 2018, at 12:22 PM, Sonya Mladenova  
> wrote:
> 
> Hello everyone,
> 
> Looking for documentary films shot with/within a group of people engaged in 
> an activity or some kind of project, independently or in an organized 
> environment, in which the filmmaker is a visible and/or an active 
> participatory presence. I'm especially interested in films from the last 
> 25-30 years. I'm investigating the relationship between the filmed person(s) 
> and the person(s) filming, whatever the configuration.
> 
> Somes examples, but not limited in scope:
> Starless Dreams by Mehrdad Oskouei 
> À ciel ouvert by Mariana Otero
> La moindre des choses by Nicolas Philibert
> 
> Many many thanks,
> 
> Sonya
> 
> 
> 
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Re: [Frameworks] crystal sync super-8

[Jeff Kreines]

We had this Nizo mod in 1973 at the MIT film section, but of course circuitry 
has gotten a lot smaller since then.  Christophe does nice work. 

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Feb 11, 2018, at 6:03 PM, Pip Chodorov  wrote:
> 
> Hi Jean-Louis,
> 
> In December I saw offered on eBay a Nizo that had been modified for crystal 
> sync a few years ago by TFG in Easthampton, CT, and I asked our resident 
> technical expert in Paris, Christophe Goulard, if I should buy it. That 
> modification requires a large box to be plugged into the side of the canera 
> when you want it to run exactly at 24. Christophe has been fixing and 
> modifying Nizos for years, such as adding a button to adjust the ASA for the 
> new film stocks, or bypassing the need for the small round batteries for the 
> light meter by wiring them to the AA pack. He is also modifying Bolex 
> cameras, adding through the lens light meters, or motors; he is planning a 
> way to replace the xenon bulbs in Eiki projectors with cool bright LEDs... He 
> thought about the crystal sync problem and said, "don't buy it - it would be 
> very easy to make that circuit myself."
> 
> The actual crystal component is tiny and he has designed a circuit that can 
> be printed on a small board less than an inch long that can sit inside the 
> camera. The circuit will only work when the camera is set to 24FPS. He just 
> has to cut the wire leading out of the speed dial at the 24fps position and 
> solder in his circuit. It will be powered from the 9V battery pack with a 
> transformer because it only needs 3V. It will check the speed two dozen times 
> per frame, rather than once a frame as in the TFG modification. It will run 
> at 24 point zero zero zero frames per second.
> 
> He will offer this modification to your Nizo for 160 euros (unless your 
> camera also needs some other revisions).
> 
> We hope to offer some crystal sync cameras on our webshop soon. Christophe 
> has been busy so we're down now to one S800 for sale but he has a series of 
> Nizos that will be ready soon, and then he will start on the sync project, 
> using an 801 macro.
> 
> Keep in touch if you are interested,
> Pip
> 
> 
> 
> 
> 
> 
> 
> At 8:03 -0500 11/02/18, Jean-Louis Seguin wrote:
>> Could you please tell me more about your technician and the crystal sync 
>> circuit that he has devised.
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Re: [Frameworks] experimental/feminist films with a woman's voice-over narration?

[Jeff Kreines]

Joel DeMott’s Demon Lover Diary 

(Joel is a woman.)
> On Nov 2, 2017, at 3:33 PM, vanessa renwick  wrote:
> 
> Crowdog, The Ugly Movie, 9 is a Secret, SF HITCH, and Strabismus all by 
> myself.
> 
> Vanessa Renwick
> Oregon Department of Kick Ass <http://www.odoka.org/>
> 
> 
> 
> On Thu, Nov 2, 2017 at 12:24 PM, lagonaboba  <mailto:lagonab...@gmail.com>> wrote:
> It seems to me that the list of such films rather long, given the number of 
> women making films.
> 
> Hermine Freed Art Herstory
> Vanalyne Green’s worksSpy in the House that Ruth Built
>   Saddle Sores
> Sadie Benning’s works
> Moira Davey’s work
> Trinh T. Minh-ha ’s works
> Yvonne Rainer’s works
> 
> and
> 
> Robert Harris  Coyote
> Chris Marker  Sans Soleil
> 
> Look at the Women Make Movies catalog
> 
> 
> 
>> On Nov 2, 2017, at 10:42 AM, Ben Ogrodnik > <mailto:ben.ogrod...@gmail.com>> wrote:
>> 
>> Hi all,
>> 
>> I am requesting some film suggestions for a list of experimental, 
>> independent, and/or feminist-leaning films that contain a woman -- or 
>> multiple women -- providing voice-over narration to the images.  
>> 
>> The works can be from any era, in any format: documentary, animation, 
>> fiction, found-footage, anthropological, installation-based, etc.
>> 
>> Some well-known examples of this tradition would be: Laura Mulvey and Peter 
>> Wollen's Riddles of the Sphinx, 1977; Michelle Citron's Daughter Rite, 1978; 
>> or Su Friedrich's Sink or Swim, 1990.
>> 
>> Any examples of woman-voiced films that may be lesser known, or made outside 
>> EuroAmerican settings, would be greatly appreciated as well!
>> 
>> Thanks so much.
>> 
>> Sincerely,
>> Ben 
>> 
>> -- 
>> Ben Ogrodnik
>> Department of Film Studies // History of Art and Architecture
>> University of Pittsburgh
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Re: [Frameworks] Editing negative

[Jeff Kreines]

e focal point of a 
>> group of mostly young men with whom Lyon would remain friends and continue 
>> to document for the next several decades. The film meanders through the town 
>> and among its inhabitants, passing between groups of people at times with 
>> the keen instinct of a desert eagle and at others in a drunken stupor, 
>> stumbling from one scene into the next with the visceral and irrational 
>> inevitability of a gravitational pull. Directed by Danny Lyon US 1971, 
>> digital video, b/w, 54 min
>> 
>>  <>10/29
>> Los Angeles, California: Filmforum
>> http://www.lafilmforum.org/ 
>> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=8b5fadbfd9&e=4e65756555>
>> 7:30 pm, Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd.
>> ISM, ISM, ISM: DARK MATTER: COLLECTIVE, SINGULAR AND PARODIC RESISTANCE 
>> Filmmaker Bruno Varela in person! INFO: www.lafilmforum.org 
>> <http://www.lafilmforum.org/>, 323-377-7238 Created during and between 
>> military coups, civil wars, diverse authoritarian regimes, and invasions led 
>> by the United States, experimental cinema in Latin America has not escaped 
>> the impact diverse forms of social upheavals and violence. In many of these 
>> contexts, resistance, even social commentary, can be a precarious, even 
>> dangerous, project, and tonight’s program surveys some of these expressions. 
>> In the war-torn El Salvador of 1980, the collective “Los Vagos” shot 
>> documentaries and one fiction film, Zona intertidal, a poetic treatment of 
>> the politically motivated assassination of a leftist professor by death 
>> squads. In 2014, in the town of Iguala, in Southern Mexico, 43 students from 
>> a rural teachers’ college were detained by the military and handed over to a 
>> local criminal organization. Forensic specialists have only been able to 
>> identify the remains of two of the students among the numerous mass graves 
>> excavated during the ensuing search for clues to their disappearance, a 
>> process which Bruno Varela comments upon in Materia Oscura (2016). Zigmunt 
>> Cedinsky takes a satirical approach in La Guerra sin fin (I’m very Happy) 
>> (2006), while the Colombian filmmaker Camilo Restrepo’s Impresión de una 
>> Guerra (2015) visits textile factories, tattoo parlors, print shops, and 
>> punk rock concerts to offer up an essayistic reflection on the lasting 
>> legacies of decades on his homeland. Tickets: $10 general; $6 for 
>> students/seniors; free for Filmforum members. Available in advance from 
>> Brown Paper Tickets at http://bpt.me/3103989 <http://bpt.me/3103989> or at 
>> the door.
>> 
>>  <>10/29
>> New York, NY: Anthology Film Archives
>> http://www.anthologyfilmarchives.org/ 
>> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=26bcec88ba&e=4e65756555>
>> 4:45 PM, 32 Second Avenue
>> EC: CHRISTOPHER MACLAINE
>> "The few facts that are known about Maclaine are, at best, sketchy. He was a 
>> published poet, a sort of down and out San Francisco bohemian who later 
>> became one of the psychic casualties of that scene. His last years were 
>> spent at Sunnyacres, a state mental hospital in Fairfield, California. These 
>> films, along with Ron Rice's, are clearly the most significant work to come 
>> out of the beat period." -J.J. Murphy All films preserved by Anthology Film 
>> Archives. THE MAN WHO INVENTED GOLD (1957, 14 min, 16mm) BEAT (1958, 6 min, 
>> 16mm) SCOTCH HOP (1959, 5.5 min, 16mm) THE END (1953, 35 min, 16mm) Total 
>> running time: ca. 65 min. [THE MAN WHO INVENTED GOLD, BEAT, and SCOTCH HOP 
>> are not part of the Essential Cinema collection, but they are included here 
>> as a special bonus.]
>> 
>> Let us know about your alternative film/video event!
>> 
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>> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=7e8abfbc66&e=4e65756555>.
>> 
>> 
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>> why did I get this? 
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>> 
>> From: Esperanza Collado > <mailto:esperanzacolla...@gmail.com>>
>> Subject: [Frameworks] Editing neg?
>> Date: October 22, 2017 6:46:30 AM EDT
>> To: Experimental Film Discussion List > <mailto:frameworks@jonasmekasfilms.com>>
>> 
>> 
>> Dear Workers of the Frame,
>> 
>> I have a negative and I want to create a print from it, organizing the 
>> different sequences that I shot in a different order. What's the exact 
>> procedure I should follow? Should I cut the negative and splice it together 
>> in the new manner I want the final print to be, then send that to the lab? 
>> (I need no disolves nor superimpossitions, just one shot after another in 
>> the simplest way). If I don't want to cut the negative, I presume I should 
>> use the numbers that appear on the side of the filmstrip to give 
>> instructions to lab, but I'm not sure if that is so precise. I've never done 
>> this before, and the guy from the lab wasn't very helpful. So if any of you 
>> could explain the procedure to detail, I would be enormously grateful. Also, 
>> I'd love to hear about  books on the subject.
>> 
>> Thanks very much,
>> 
>> Esperanza Collado
>> - - - - - - - - - - - - - - 
>> www.esperanzacollado.net <http://www.esperanzacollado.org/>
>> 
>> 
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Re: [Frameworks] Editing neg?

[Jeff Kreines]

I’m surprised that no one has mentioned workprint.  Most films were edited 
using workprints, a print off the uncut negative — and once that was “locked” 
the negative was conformed.  While some did edit original negatives, it was 
usually for speed — done in the early newsreel days, and in early TV news when 
they shot negative and inverted the polarity for broadcast.

You can also have the negative transferred to digital files with the edge 
numbers in a “flex” file that some editing programs can use, but this gets more 
complex than you will want.

Jeff Kreines
Kinetta
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Re: [Frameworks] review

[Jeff Kreines]

> On Oct 14, 2017, at 11:30 AM, Bernard Roddy  wrote:
> 
> How odd that LightPress grants are for scans.  And after all that stuff about 
> supporting independent filmmakers.

Given that they are in the business of doing HD scans (so 20th century) isn’t 
it somewhat logical that they’d give in-kind grants.  Their prices are quite 
high for HD — $1.00 a foot for Super 8 scans.
> 
> By the way, Facebook is no substitute for this list.  I favor text that isn't 
> linked to every goddamn idiot looking for a buck.

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com


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Re: [Frameworks] Eiki SL-0 belt

[Jeff Kreines]

I tithe to McMaster/Carr.  I get stuff the next day — always.

I had to get a tool to someone in Chicago, so ordered from McM — they got it 2 
hours later.  I guess they do same day in some big cities.

Not the cheapest, but the best.


> On Sep 14, 2017, at 6:41 PM, George, Sherman  wrote:
> 
> 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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> 
> Sherman George
> sgeo...@ucsd.edu
> 858-229-4368
> 
> 
> 
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Re: [Frameworks] Digital Projector Recommendation

[Jeff Kreines]

projectorcentral.com always has trustworthy reviews of projectors in all price 
ranges.  Worth checking. 

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Aug 24, 2017, at 9:28 AM, Ben Balcom  wrote:
> 
> Hello Frame-brain, 
> 
> I'm wondering if anyone has a strong recommendation for small digital 
> projectors. I've been using a Mitsubishi HC3000 for years. Couldn't be 
> happier, but we've been borrowing form a University and it's time to stop 
> exhausting their resources. 
> 
> We screen in relatively small spaces, typically for crowds of 20 - 50. 
> Ideally it won't break the bank, but I'm under the impression that the $600 
> range of projectors is likely to disappoint. 
> 
> Any recommendations would be greatly appreciated. Thanks!
> 
> -- 
> Ben Balcom
> benbalcom.com
> microlightscinema.com
> benbal...@gmail.com
> 414-902-0236
> 
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Re: [Frameworks] Spectra

[Jeff Kreines]

That's the model number for a Sekonic meter, not a Spectra. 

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Jul 31, 2017, at 6:37 PM, Dominic Angerame  
> wrote:
> 
> The model number is L 28 c2 Studio Delux
> 
> Ty
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Re: [Frameworks] Kodak Super8 digital camera

[Jeff Kreines]

Super 8 has an aesthetic based on reversal film, shot with little cameras one 
holds against their eye. 

Color neg in Super 8 just looks like bad 16mm, IMHO.  And if it costs $100 to 
process and scan 2.5 minutes of film, not including the raw stock, it's cheaper 
to shoot 16mm, including processing and scanning.  You can find excellent 16mm 
sync cameras for under $2000 these days. 

Kodachrome and Ektachrome and Tri-X reversal are great, whatever format.  But 
S8 color neg just wants to be so "professional" but it's just a boring group of 
stocks with nothing exciting about them. 

The Kodak camera is a terrible industrial design -- look at the top handle as 
an example.  Big and ugly and not designed to hold to your eye. 

It's Kodak's pathetic attempt to go after the trust-fund hipster market. 

Sad!


Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

On Jul 13, 2017, at 8:05 PM, Dave Tetzlaff  wrote:

>> Mindless design. No optical viewfinder, just a flip out video screen. Plus, 
>> it is overpriced. 
> 
> The projected price of the initial "limited edition” version is $2000, with a 
> less expensive “standard edition” supposedly to follow. It’s a film camera, 
> so the real cost is in the stock and processing:
> 
>> Filmmakers using the new Kodak camera can send the 50’ cartridge to Kodak 
>> for developing and for a $100 developing fee Kodak will mail back to the 
>> filmmaker the developed film on a reel as well post a scanned digital 
>> version of the 2.5 minute film in a password protected cloud file.
> 
> I’d have to guess the concept and pricing reflect a similar approach to The 
> Impossible Project’s new design Polaroid film camera, also very expensive. 
> These things seem targeted at cost-no-object users in Hollywood and 
> hipsterdom, who get off on having whatever tool – vintage or new-fangled – 
> has been used by some cel;ebrity maker in some high-profile project. 
> 
>> Before the reborn Super 8 camera has even hit store, big Hollywood names 
>> such as directors Steve Spielberg, Christopher Nolam, and J.J. Abrams have 
>> endorsed the product.
> 
> For reference, Pro8mm in Burbank sells rebuilt Beaulieu 4008’s for $2000.
> 
> I’d expect folks who want to do experimental work in S8 to stick to old 
> Canons and Nizos or whatever shows up in decent condition at the local thrift 
> store or on eBay. 
> 
> Jeff: what’s the problem with having what amounts to video assist versus a 
> dim optical finder? Isn’t the good news here for photochemical filmies that 
> some sort of stock and processing options will remain available from Kodak a 
> while longer now that they have this thing to support?
> 
> There’s a 46 second test clip from a Kodak prototype on YT 
> [http://tinyurl.com/yayv8yok] complete with plastic pressure-plate 
> registration flutter, dust and scratch in the negative glitches, and a nice 
> chunk of crud in the gate. Ahh, the memories...
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Re: [Frameworks] Kodak Super8 digital camera

[Jeff Kreines]

It's a camera designed by someone who had never used a Super-8 film camera. 
Mindless design. No optical viewfinder, just a flip out video screen. The only 
good thing about it is the C-mount lens. 

Plus, it is overpriced. 

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Jul 13, 2017, at 1:23 PM, Margaret Rorison  
> wrote:
> 
> Has anyone had the chance to experience and use this tool? 
> 
> Any exciting notes, critiques or comments? 
> 
> thanks!
> Meg
> 
> ---
> http://margaretrorison.com/
> http://sightunseenbaltimore.com/
> 
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Re: [Frameworks] Carnegie Museum of Art online research collection: Department of Film & Video

[Jeff Kreines]

Excellent. Sally Dixon, and the great Travel Sheet (got many gigs from that). 

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Jun 30, 2017, at 5:49 PM, Michael Zryd  wrote:
> 
> This body of research material may be of interest to Frameworks members: 
> online recordings, images and documents from a foundational film and video 
> art institition.
> 
> ***
> 
> Carnegie Museum of Art (CMOA) is excited to announce that its Department of 
> Film and Video archive is now open for exploration and research. The archive 
> measures a thrilling 450 linear feet and contains artifacts from the world of 
> experimental film and video art from 1970 through the early 2000s, including 
> photographs, correspondence with artists, books and periodicals on film and 
> video, distribution catalogs, event posters, program notes, and other 
> ephemera. The archive is available for research by appointment and a large 
> portion of digitized materials are viewable online through CMOA’s brand new 
> digital collections website at records.cmoa.org. 
> 
> Items we are most excited to share via the website include:
> • More than 100 audio and video recordings of lectures and interviews 
> with experimental moving image artists such as Hollis Frampton, Bruce Conner, 
> Paul Sharits, Stephen Beck, Carolee Schneemann, Yvonne Rainer, and Michael 
> Snow.
> 
> • The Film and Video Makers Travel Sheet, a monthly directory published 
> by CMOA between 1973 and 1987 that helped artists promote themselves and book 
> gigs with screening venues all across the country.  
> CMOA’s Department of Film and Video (known in its earliest years as the Film 
> Section) was one of the first museum-based moving image programs in the 
> country. Founded in 1970 by Sally Dixon, a pioneering and charismatic 
> champion of filmmakers, the program helped experimental film and video 
> artists launch their careers and share their works with new audiences. 
> Artists like Stan Brakhage, Hollis Frampton, Carolee Schneemann, Yvonne 
> Rainer, and James Broughton were frequent visitors to the museum, which 
> contributed to Pittsburgh’s emergence in the 1970s as “one of the most 
> vibrant and exciting places in America for exploring cinema.”  
> 
> For access to the archive, please visit CMOA’s new website at 
> records.cmoa.org or contact the museum archives at archi...@cmoa.org.
> 
> The Department of Film and Video archive and records.cmoa.org are one of the 
> many facets of CMOA’s Time-Based Media Project. Generous support for the 
> project is provided by the A.W. Mellon Foundation. 
> 
> Michael Zryd • Associate Professor 
> Department of Cinema & Media Arts
> School of the Arts, Media, Performance & Design
> 
> Associate Dean Academic, Faculty of Graduate Studies
> 
> YORK UNIVERSITY 
> York Lanes 230 • 4700 Keele Street 
> Toronto ON • Canada M3J 1P3
> T 416.736.2100 x66957 / cell: 647-430-8680 / Skype: mjpzryd
> z...@yorku.ca • http://cma.ampd.yorku.ca/profile/michael-zryd/ • 
> ampd.yorku.ca 
> 
> 
> York University, one of 2015 Canada’s Greenest Employers
> 
> 
> This electronic mail (e-mail), including any attachments, is intended only 
> for the recipient(s) to whom it is addressed and may contain information that 
> is privileged, confidential and/or exempt from disclosure. No waiver of 
> privilege, confidentiality or any other protection is intended by virtue of 
> its communication by the internet. Any unauthorized use, dissemination or 
> copying is strictly prohibited. If you have received this e-mail in error, or 
> are not named as a recipient, please immediately notify the sender and 
> destroy all copies of it.
> 
> 
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Re: [Frameworks] Daybreak Express

[Jeff Kreines]

I think it was a Kodak Cine Special. 

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

> On May 16, 2017, at 8:38 PM, Margaret Rorison  
> wrote:
> 
> Dear All, 
> 
> I can't seem to find any info on what camera DA Pennebaker used to shoot 
> Daybreak Express. Was it a Bolex? 
> 
> thanks! 
> Meg 
> 
> ---
> http://margaretrorison.com/
> http://sightunseenbaltimore.com/
> 
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Re: [Frameworks] Looking for Angenieux 12-120mm lens or another Auricon-compatible

[Jeff Kreines]

The best of the Angenieux zooms with finders is the Angenieux 9.5-57.  Fast and 
focuses close.  12-120 only focuses to 5 feet. Not a lens I like.  At all….

The ancient 17.5-70 Angenieux with the very rare .7x retro zoom adapter is also 
nice but usually only available with a long finder.  For a CP16 you want the 
“zero” finder which is very short indeed.


> On Mar 29, 2017, at 5:44 PM, Scott Dorsey  wrote:
> 
> Yes, the smaller Angenieux zooms of that era are generally sharper and have
> less flare than the 12-120, and they are cheaper, but they aren't as common.
> 
> One place in NYC you might look if you're just poking around is Olden Camera
> which often has a lot of old weird 16mm gear for sale.  However, if you buy
> an old used lens you probably want to get it collimated by Whitehouse anyway.
> 
> The 12-120 is okay if you stop it down.  It has a whole lot of flare, but 
> that's not always a bad thing.  It's a TV news lens; it was designed for
> news cameramen who needed the widest possible range and to work as quickly
> as possible.  It's still a great lens for that sort of documentary work.
> --scott
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Re: [Frameworks] Lying as a theme

[Jeff Kreines]

David Holzman’s Diary

> On Feb 22, 2017, at 4:30 PM, Francisco Torres  wrote:
> 
> it may be that all films lie. that is what make them such fun.
> 
> 2017-02-22 14:31 GMT-04:00 lagonaboba  <mailto:lagonab...@gmail.com>>:
> from the Filmmaker’s Coop Catalog: (description seems laden with Coyote-esque 
> obfuscation, and I wrote it…)
> 
> Robert Harris 
> <http://film-makerscoop.com/rentals-sales/search-results?fmc_author=1035>
> COYOTE (1997 
> <http://film-makerscoop.com/rentals-sales/search-results?fmc_year=1997>) DVD 
> NTSC, color, 17:07 min
> 
> Genre: Documentary 
> <http://film-makerscoop.com/rentals-sales/search-results?fmc_genre=genre_documentary>,
>  Experimental 
> <http://film-makerscoop.com/rentals-sales/search-results?fmc_genre=genre_experimental>
> Keywords: Ethnic/Multicultural 
> <http://film-makerscoop.com/rentals-sales/search-results?fmc_keyw=key_ethnic_multicultural>
> COYOTE is an invocation of the many shady, shifting forms of Coyote, wide 
> dog, Trickster, and smuggler, told in a style that mimics his multifarious 
> shape. COYOTE abandons unified visual style. The narrative is fractured, a 
> blend of documentary and fiction, contradictory voices, myths, and lies. 
> Through a discontinuity between images, between image and text, between 
> textual voices; through a clash of human and non-human voices, fixed meaning 
> is undermined. Contradiction, displacement and disruption force the viewer's 
> participation. Text and image drift in and out of moments of relative, 
> subjective synchronicity. A reading ascribed to a given image will dissolve 
> with the change of accompanying text. As meaning becomes contingent on viewer 
> and context, authorship shifts from video-maker to collective process. COYOTE 
> is an accumulated cacophony of evidence fragments where meanings coagulate in 
> the resonant harmonics of the various voices.
> 
> 
> 
> 
> 
> On Feb 21, 2017, at 8:49 PM, Morgan Hoyle-Combs  <mailto:mhoyleco...@yahoo.com>> wrote:
> 
>> Hello
>> 
>> Does anyone know of any film (essay/diary/doc) where lying is a theme or the 
>> main focus? I wondered if there was anything that ran among these lines: 
>> 
>> 1. The audience is well aware that the narrator/filmmaker is lying to them
>> 
>> 2. The audience does not know whether or not the narrator/filmmaker lying to 
>> them. It's left ambiguous. 
>> 
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Re: [Frameworks] "Husbands" and "Wives"

[Jeff Kreines]

> On Feb 10, 2017, at 2:23 PM, Scott MacDonald  wrote:
> 
> Ed Pincus and Lucia Small

That would be a surprise to Jane Pincus….  

Jeff Kreines
Kinetta
j...@kinetta.com
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Re: [Frameworks] Cheapest Telecine in USA

[Jeff Kreines]

Try Skip Elsheimer at AVGeeks. He does good work and may be in your price 
range. 

He has a Kinetta Archival Scanner. 

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

> On Jan 27, 2017, at 7:59 PM, Ben Winston  wrote:
> 
> Hey ya'll. I am trying to get my film scanned but cannot find a cheap enough 
> place to do it. I have about maybe 5 or 6 hours of 16mm footage that I want 
> to get scanned into an HD format but only have $2000 to spare. Anyone know of 
> a good place? I need to start editing my damn film already. I'm about to lose 
> it over here... Thanks
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Re: [Frameworks] Moviola optical reader conversion

[Jeff Kreines]

I think signal is on the 4-pin connector and power is on the coaxial. Power 
probably needs to be clean DC so you don't get any hum from the lamp. 
Unfortunately the Moviola amps are desirable for guitar amps so always are 
expensive on eBay. 

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

> On Jan 8, 2017, at 12:01 PM, 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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[Frameworks] Ektachrome redux??

[Jeff Kreines]

http://www.kodak.com/corp/Blog/Blog_Post/?contentId=4295000406


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Re: [Frameworks] copying 35 mm frames using a slide duplicator

[Jeff Kreines]

Mark:

I think the only possible damage would be to the PTR rollers — so ask them to 
use their most worn-out set.  Lots of hand-painted film has been scanned, no 
problem, on Kinettas.

Try sandra.schulb...@indiecollect.org

Let me know how it goes.

Best,

Jeff

> On Jan 4, 2017, at 1:48 PM, mstreet...@gmail.com wrote:
> 
> Not a bad idea, Jeff. Wondering if the paint and stray bits of emulsion would 
> endanger  your beloved machine? Let me know what you think.
> Mark 
> 
> Sent from my iPhone
> 
> On Jan 4, 2017, at 11:55 AM, Jeff Kreines  <mailto:j...@kinetta.com>> wrote:
> 
>> Mark:
>> 
>> If the film is still in rolls -- not cut into short strips -- it can be 
>> scanned on a Kinetta. IndieCollect in NYC has a 5k Kinetta and offers very 
>> low rates to independent filmmakers. Give them a call. 
>> 
>> Jeff Kreines
>> Kinetta
>> j...@kinetta.com <mailto:j...@kinetta.com>
>> kinetta.com <http://kinetta.com/>
>> 
>> On Jan 4, 2017, at 10:18 AM, Mark Street > <mailto:mstreet...@gmail.com>> wrote:
>> 
>>> Hey DIY brothers and sisters,
>>> 
>>> I have been working on some hand painted and distressed 35mm film.  I was 
>>> hoping to click off single exposures of each frame on my DSLR.  Thought I'd 
>>> use a slide duplicator, but the one's I've encounters only accept mounted 
>>> slides what I hope to do is slide the film through frame by frame.
>>> Any models you'd recommend, or an alternate methodology I'm not seeing?
>>> 
>>> Sincerely,
>>> 
>>> Mark Street
>>> www.markstreetfilms.com <http://www.markstreetfilms.com/>
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Re: [Frameworks] copying 35 mm frames using a slide duplicator

[Jeff Kreines]

Mark:

If the film is still in rolls -- not cut into short strips -- it can be scanned 
on a Kinetta. IndieCollect in NYC has a 5k Kinetta and offers very low rates to 
independent filmmakers. Give them a call. 

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

> On Jan 4, 2017, at 10:18 AM, Mark Street  wrote:
> 
> Hey DIY brothers and sisters,
> 
> I have been working on some hand painted and distressed 35mm film.  I was 
> hoping to click off single exposures of each frame on my DSLR.  Thought I'd 
> use a slide duplicator, but the one's I've encounters only accept mounted 
> slides what I hope to do is slide the film through frame by frame.
> Any models you'd recommend, or an alternate methodology I'm not seeing?
> 
> Sincerely,
> 
> Mark Street
> www.markstreetfilms.com
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Re: [Frameworks] Film Labs

[Jeff Kreines]

They are the same lab -- but for some reason still have two names.  Tommy 
Aschenbach of VGS bought out Colorlab a couple of years ago. (Before then they 
did much of Colorlab's work.)

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

> On Dec 28, 2016, at 6:39 PM, Scott Dorsey  wrote:
> 
> Colorlab is very friendly and will bend over backwards to do unusual stuff,
> but they are more expensive than Foto-Kem for typical work.
> 
> There is a company called Video and Film Solutions also in Rockville which
> seems to be run by former Colorlab folks.  They have a working wet lab and
> the one short job I sent them looked perfectly good.  I'd be curious if anyone
> else knew more about these folks.
> --scott
> 
> 
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Re: [Frameworks] Film Labs

[Jeff Kreines]

Colorlab in Rockville MD. Great lab and artist friendly. 

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

> On Dec 28, 2016, at 2:07 PM, Myron Ort  wrote:
> 
> I have some new projects (16mm and/or 35 mm) in mind and was thinking I have 
> to work with Foto Kem in LA, Are there any other options for 1) film 
> processing 2) film printing AB or even ABC roll to neg then to print (silent) 
> where an experienced timer would be necessary for experimental work.
> I have worked with Foto Kem before and have even been down there and know how 
> “corportate” it seems and how expensive  which may not be avoidable these 
> days.
> 
> Myron Ort
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[Frameworks] Fischinger and optical tracks

[Jeff Kreines]

This is pretty wonderful.  Go to page 274 to see how Oskar Fischinger draws 
optical soundtracks on film.

http://www.americanradiohistory.com/Archive-Television-News/Television-News-1933-Jan-Feb.pdf
 
<http://www.americanradiohistory.com/Archive-Television-News/Television-News-1933-Jan-Feb.pdf>


Jeff Kreines
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Re: [Frameworks] 16mm sound recording (Mike Morris)

[Jeff Kreines]

I'm pretty sure that Colorlab can lock their optical recorders to any reference 
-- digital or mag film or even video.  No need for mag unless you want it. 

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

> On Dec 15, 2016, at 5:20 PM, Zach Poff  wrote:
> 
> Hannes Bruneel in Belgium (www.postproduction.be) contacted me earlier this 
> year, mentioning that he uses my Film-O-Sync software to sync digital 
> playback to a Picot optical sound camera to generate optical tracks without 
> the mag step. (He actually had some problems occasionally, but my 
> soon-to-be-released update should fix them.)
> 
> Maybe he's on this list? If not you might want to get in touch. Meanwhile, I 
> wonder if Colorlab could be convinced to do something similar? They do some 
> very impressive in-house tech.
> 
> -Zach
> 
> 
> 
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Re: [Frameworks] 16mm sound recording

[Jeff Kreines]

> On Dec 13, 2016, at 2:17 PM, Francisco Torres  wrote:
> 
> another question- When 16mm prints are transfered  to digital these days do 
> most filmmakers prefer to use the original mix or the optical trck?

The optical track is the last fallback if you don’t have the mix.  Of course 
for films made before magnetic recording, optical is king.

You want to scan the original camera neg/reversal original if possible, at a 
high res (4K-5K preferred).

(OK, I make 5K scanners, but it makes a big difference, even with small 
formats.  Look here:
 <http://db.tt/5SlAVkbT> <http://db.tt/5SlAVkbT>
https://dl.dropboxusercontent.com/u/28462740/Memoriav%20Dossier%20--%20a%20response%20-%202012.pdf
 )

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Re: [Frameworks] 16mm sound recording

[Jeff Kreines]

Scott, this is pretty useless advice.  How many theaters even project 16mm?  
How many of those have (16mm) DTS?  Of those theaters, how many want to run 
Morgan’s film?  A tiny subset, at best.

Technicolor Magnecraft — are they still around?  Very doubtful.

Morgan just needs to learn how films are made and optical tracks are printed.  
He doesn’t need to shoot single perf stock, as he earlier suggested.  He needs 
to learn about editing double system sound (theoretically with a 16mm mag 
track) and then find a lab that can make a track neg and prints for him.

This depends on location.  I’d recommend Colorlab as they do everything he 
needs, including optical tracks and 16mm B&W printing.

But talking about DTS and Technicolor Magnecraft is just offering obscure info 
that won’t help Morgan.  Fine to reminisce, I do it all the time, but this is, 
scarily, 2016.  I doubt that DTS, owned by a holding company, is interested in 
making one-off disks for anyone.

I’d suggest these steps.

* Read the Sharples book, good historical advice
* Shoot B&W neg or reversal.
* Edit picture and 16mm mag track.  Mix tracks if need be.
* Find a lab
* Conform original (A&B rolls, or single strand if you like seeing splices)
* Send to lab for optical track and release printing
* Pay lab bill.
* Submit to film festivals, who will insist on a digital version because they 
can’t project 16mm.
* Have your 16mm print damaged by someone who doesn’t know how to project 16mm, 
or has an old and malfunctioning projector.

Jeff “old curmudgeon” Kreines
Kinetta


> On Dec 13, 2016, at 1:52 PM, Scott Dorsey  wrote:
> 
> As I said, there is a 16mm dts standard and some theatres are set up for it.
> 
> I don't know anyone doing magstriping today.  16mm commag doesn't sound bad
> at all, the problem is finding someone who can stripe the print and someone
> who can show it.  Last I looked, Technicolor Magnecraft was the last place
> in the US still doing it.
> --scott
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Re: [Frameworks] 16mm sound recording

[Jeff Kreines]

Mag stripe is dead.  Not worth considering for a new film.

DTS is overkill.

Do you need a 16mm print with optical sound, in these days of digital (which 
has better sound)?  35mm blowups are not cheap.


> On Dec 13, 2016, at 1:31 PM, Morgan Hoyle-Combs  wrote:
> 
> So, just so I'm caught up in this discussion, is it possible to stick a thin 
> strip of magnetic sound tape to the celluloid or must it be done optically 
> nowadays? Because it seems like there's talk of DTS with 35mm but I'm not 
> aware of whether or not it can go on 16mm. Does that mean I'd have to 
> consider a 35mm print of the 16mm? 
> 
> 
> On Tuesday, December 13, 2016 2:27 PM, Scott Dorsey  wrote:
> 
> 
> > They could just stick a magnet on the inching knob and use a reed switch..
> 
> These solutions are good until the print is damaged and a frame has to be
> removed from it.
> --scott
> 
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Re: [Frameworks] 16mm sound recording

[Jeff Kreines]

> On Dec 13, 2016, at 1:26 PM, Scott Dorsey  wrote:
> 
> These solutions are good until the print is damaged and a frame has to be
> removed from it.

Estar prints are tougher to damage…  and you can always slug the print, like 
you’d do for Cinerama or 2-projector 3D or any double system projection….

Jeff Kreines
Kinetta

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Re: [Frameworks] 16mm sound recording

[Jeff Kreines]

Horribly expensive and makes the print unusable for conventional projection, 
tho.



> On Dec 13, 2016, at 1:18 PM, Scott Dorsey  wrote:
> 
> Yes, there is 16mm dts available.  The print is printed with a standard 
> optical track which contains timecode information.  That timecode is then
> used to lock the dts decoder.  Unlike with 35mm dts, there is no analogue
> audio track left on the film so if anything goes wrong with the dts track
> you're in trouble.
> 
> Any theatre with a 16mm projector and a standard dts decoder can install 
> the dts E376 "timecode preamplifier" which takes the optical head output
> from the projector and spits out regenerated tc2 timecode to the dts unit.
> 
> I have shown 16mm dts films at festivals but never actually made one, so I
> don't know how bad a job it is getting all the synch perfect.
> --scott
> 
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Re: [Frameworks] 16mm sound recording

[Jeff Kreines]

They could just stick a magnet on the inching knob and use a reed switch, or a 
cheap low-res shaft encoder (could make one with a disk with a hole in it).  
That would make it immune to content.

Many of us are not immune to content…

Discontentedly,

Jeff Kreines
Kinetta

> On Dec 13, 2016, at 1:13 PM, Beebe, Roger W.  wrote:
> 
> And in a similar vein, some of the folks from L’Abominable demo’d a pretty 
> nifty system this summer in Nantes that synced with a little light sensor 
> hooked to the front of the lens that just used the strobing of the shutter to 
> generate the sync pulse.  (They were still working out kinks though, like how 
> to account for black film.)
> 
> R.
> 
> On Dec 13, 2016, at 2:06 PM, Jeff Kreines  <mailto:jeffkrei...@gmail.com>> wrote:
> 
>>> 
>>> On Dec 13, 2016, at 12:49 PM, Francisco Torres >> <mailto:fjtorre...@gmail.com>> wrote:
>>> 
>>> which begs the question-  are there are any double sound systems possible 
>>> today for 16 mm using standard projectors and some digital source?
>> 
>> Richard Tuohy and Carl Looper (in Australia) have developed a clever system 
>> that attaches a passive sprocket with encoder to the feed arm of  a 
>> projector and syncs it with a digital file playing on a laptop.  Earlier Sam 
>> (?), RIP, did something similar using timecode on the optical track and a 
>> DTS player, but that was far more expensive.  They are both on FB.
>> 
>> The Sharples book is a good place to start.  But a lot depends on where you 
>> are located and which lab you are using (for optical, that is).
>> 
>> Jeff Kreines
>> Kinetta
>>> 
>>> 
>>> 2016-12-12 21:31 GMT-04:00 Kenneth Linehan >> <mailto:k...@public-information.org>>:
>>> Hi Morgan,
>>> 
>>> If you’re looking to obtain a final screening print ( 16mm  ) with sync 
>>> sound, the primary format is optical sound track recording. There may be 
>>> people experimenting with making their own home-brew magnetic tracks, but 
>>> there’s little to no support for magnetic sound on 16mm these days.
>>> 
>>> So, if you want to get an optical track made, you definitely can.
>>> 
>>> There’s a lab in Canada that I’ve used recently to produce an optical 
>>> negative and they did very good work.
>>> 
>>> Regarding the overall workflow questions you had, if you use film scanning 
>>> there are workflows that largely eliminate the need to use mag or a 
>>> Steenbeck to produce your soundtrack.  Not that I’m opposed to those things 
>>> :)
>>> This or may not apply to your workflow, but hopefully it will give you some 
>>> perspective on your options:
>>> 
>>> Consider the possibility of having your film or negative scanned at 24fps ( 
>>> progressive ). Although this may add some cost up front, the scan can be 
>>> useful for many purposes not the least of which is facilitating digital 
>>> sound workflow. Once your film is scanned at 24fps progressive, maintaining 
>>> sound sync in the digital environment becomes much easier than with NTSC 
>>> telecine processes. Note, if you need an NTSC end product, my approach may 
>>> not totally suit you.
>>> 
>>> Once you have your scan, import it as a quicktime movie into an audio 
>>> editing application like ProTools/DigitalPerformer/etc. Create a sync beep 
>>> and do all your overdub ( voice over ) in the audio app. Make sure the 
>>> audio editor transport counter is operating at 24fps. Beep must be placed 
>>> carefully. You can conform subsequent edits of scanned material in your 
>>> audio editor very easily while still editing on film at the same time. You 
>>> can conform edits on the fly as you work between film and digital 
>>> simultaneously if necessary.
>>> 
>>> You can then mix using your audio workstation and send the mixed audio file 
>>> ( with sync beep ) to the optical sound lab and they will provide you an 
>>> optical negative. That optical neg can then be married to the image 
>>> negative in the final print by your lab. I used dropbox to transfer my mix 
>>> to the lab in Canada.
>>> 
>>> There are lots of details and particulars you must be attentive to, but 
>>> that’s the overview. I’m happy to talk to you about it if you want to send 
>>> me an email. Other people may have other approaches. You need to find the 
>>> right mix of techniques for your personal process.
>>> 
>>> Ken Linehan
>>> 
&g

Re: [Frameworks] 16mm sound recording

[Jeff Kreines]

> 
> On Dec 13, 2016, at 12:49 PM, Francisco Torres  <mailto:fjtorre...@gmail.com>> wrote:
> 
> which begs the question-  are there are any double sound systems possible 
> today for 16 mm using standard projectors and some digital source?

Richard Tuohy and Carl Looper (in Australia) have developed a clever system 
that attaches a passive sprocket with encoder to the feed arm of  a projector 
and syncs it with a digital file playing on a laptop.  Earlier Sam (?), RIP, 
did something similar using timecode on the optical track and a DTS player, but 
that was far more expensive.  They are both on FB.

The Sharples book is a good place to start.  But a lot depends on where you are 
located and which lab you are using (for optical, that is).

Jeff Kreines
Kinetta
> 
> 
> 2016-12-12 21:31 GMT-04:00 Kenneth Linehan  <mailto:k...@public-information.org>>:
> Hi Morgan,
> 
> If you’re looking to obtain a final screening print ( 16mm  ) with sync 
> sound, the primary format is optical sound track recording. There may be 
> people experimenting with making their own home-brew magnetic tracks, but 
> there’s little to no support for magnetic sound on 16mm these days.
> 
> So, if you want to get an optical track made, you definitely can.
> 
> There’s a lab in Canada that I’ve used recently to produce an optical 
> negative and they did very good work.
> 
> Regarding the overall workflow questions you had, if you use film scanning 
> there are workflows that largely eliminate the need to use mag or a Steenbeck 
> to produce your soundtrack.  Not that I’m opposed to those things :)
> This or may not apply to your workflow, but hopefully it will give you some 
> perspective on your options:
> 
> Consider the possibility of having your film or negative scanned at 24fps ( 
> progressive ). Although this may add some cost up front, the scan can be 
> useful for many purposes not the least of which is facilitating digital sound 
> workflow. Once your film is scanned at 24fps progressive, maintaining sound 
> sync in the digital environment becomes much easier than with NTSC telecine 
> processes. Note, if you need an NTSC end product, my approach may not totally 
> suit you.
> 
> Once you have your scan, import it as a quicktime movie into an audio editing 
> application like ProTools/DigitalPerformer/etc. Create a sync beep and do all 
> your overdub ( voice over ) in the audio app. Make sure the audio editor 
> transport counter is operating at 24fps. Beep must be placed carefully. You 
> can conform subsequent edits of scanned material in your audio editor very 
> easily while still editing on film at the same time. You can conform edits on 
> the fly as you work between film and digital simultaneously if necessary.
> 
> You can then mix using your audio workstation and send the mixed audio file ( 
> with sync beep ) to the optical sound lab and they will provide you an 
> optical negative. That optical neg can then be married to the image negative 
> in the final print by your lab. I used dropbox to transfer my mix to the lab 
> in Canada.
> 
> There are lots of details and particulars you must be attentive to, but 
> that’s the overview. I’m happy to talk to you about it if you want to send me 
> an email. Other people may have other approaches. You need to find the right 
> mix of techniques for your personal process.
> 
> Ken Linehan
> 
> 
> 
>> On Dec 12, 2016, at 4:02 PM, Morgan Hoyle-Combs > <mailto:mhoyleco...@yahoo.com>> wrote:
>> 
>> Hello to all who still film and record to 16mm film (or any celluloid 
>> format) 
>> 
>> I have an essay/diary that I'm filming with a few old 16mm Cine Kodak 
>> cameras. I already have notes and images, but what needs to come next is a 
>> voice over. Does anyone who has worked with 16mm sound know how I would go 
>> about doing this? I'm more than happy to be corrected, but I have it figured 
>> like this: I would record the to a magnetic reel, then I would organize my 
>> footage and make a print out of my reels AND in coordination with the 
>> dialog. But how would I go about putting the sound stock ONTO the film? I 
>> know that I would have to use SINLGE PERF to leave room for the sound tape. 
>> 
>> I think this is where I lose myself. Anyone have any ideas on where I should 
>> start? 
>> 
>> I'm using black and white FYI.
>> 
>> -Morgan
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[Frameworks] IndieCollect restorations of Apparatus Films, Friday at Metrograph

[Jeff Kreines]

IndieCollect in NYC is a non-profit that owns a shiny new 5K Kinetta Archival 
Scanner, and has been doing excellent work with it.  Some of their recent 
restorations of Apparatus films produced by Todd Haynes and Christine Vachon 
are showing at the Metrogragh in NYC on Friday.

http://metrograph.com/film/film/613/apparatus-films-program-a 
<http://metrograph.com/film/film/613/apparatus-films-program-a>
http://metrograph.com/film/film/614/apparatus-films-program-b 
<http://metrograph.com/film/film/614/apparatus-films-program-b>

Some of these films were scanned from the 16mm A&B rolls, but in other cases 
they only had prints to work from.

They do outside work at very good rates, too, which helps support their work.
Contact Sandra Schulberg:  sandra.schulb...@indiecollect.org 
<mailto:sandra.schulb...@indiecollect.org>  or
Israel Ehrisman: israel.ehris...@indiecollect.org 
<mailto:israel.ehris...@indiecollect.org>


Jeff Kreines
Kinetta
j...@kinetta.com <mailto:j...@kinetta.com>
kinetta.com <http://kinetta.com/>

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Re: [Frameworks] answer printing halp

[Jeff Kreines]

An option, if your scans look good, would be to do a B&W film out to 16mm at 
Colorlab.  They have a 5K film recorder for 16mm and 35mm  You can’t deal with 
severely underexposed shots in contact printing, but can digitally.


> On Oct 19, 2016, at 3:24 PM, mariah garnett  wrote:
> 
> Hi guys,
> I'm finishing a b+w 16mm film right now for Eve Fowler and some of the shots 
> in the answer print look like crapola and there's no way to get them to look 
> better (super under exposed, low contrast, just don't match the rest of the 
> film). Since we got our neg transferred to HD, we didn't realize how shitty 
> those shots were gonna look - they looked great on video.
> 
> doug, our timer  at the lab suggested we pull new shots, assemble them into 
> an A roll, bring that back to fotokem, have them time our new roll so as not 
> to have to charge for a whole new answer print, then once that's done, drop 
> them back into the A/B rolls and make a release print with the new shots/new 
> lights.
> 
> Is there anyone in LA who can do this for us? We are in a time crunch and I 
> don't have rewinds or an A/B roller or anything like that. 
> 
> It's for a show that opens Nov 6th, so we need the print finished by the 1st. 
> Eek!
> can anyone out there help us?
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Jeff Kreines
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[Frameworks] ArtHouse Trump

[Jeff Kreines]

He's a Dorsky and Brakhage fan. 

http://www.indiewire.com/2016/10/art-house-trump-twitter-revealed-interview-1201735340/

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

> On Oct 11, 2016, at 9:38 AM, Dominic Angerame  
> wrote:
> 
> splicing
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Re: [Frameworks] Optical soundtracts at Colorlab - all good?

[Jeff Kreines]

Colorlab is very serious about optical sound.  They have a modernized 16mm 
Westrex recorder with the latest electronics, and also a 35mm Westrex recorder 
that does stereo — including Dolby SR, and Digital Dolby (if you can pay the 
Dolby license fee).  

I’ve been there a few times, and am always impressed.

BTW, 16mm optical tracks are the AM-Radio of film sound.  They can sound great, 
but you have a limited dynamic range and on a good day (projector-dependent) 
you might get 75-6000Hz.

Jeff Kreines
Kinetta

> On Sep 23, 2016, at 3:04 PM, Buck Bito - Movette  wrote:
> 
> Hi Lyra,
> I have no experience with ColorLab's optical sound, but this page from
> Gibbs Chapman may have the parameters you're looking for:
> http://www.gibbschapman.com/non.opti.htm
> 
> -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 Fri, September 23, 2016 12:27 pm, Lyra Hill wrote:
>> Hello,
>> ...snip...
>> 
>> BONUS QUESTION: Do you know the frequency parameters for 16mm optical
>> sound? I had this information in a notebook that I sadly lost some time
>> ago. The internet is not immediately helpful in recovering this
>> information.
>> 
>> Thanks,
>> - Lyra
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> 
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Re: [Frameworks] Docs With Expressive Dramatizations

[Jeff Kreines]

> On Aug 30, 2016, at 10:24 AM, Ken Paul Rosenthal 
>  wrote:
> 
> All one need do is consult the numerous interview in Scott MacDonald's 
> brilliant compendium of interviews on the intersection of avant garde and 
> documentary genres for how the documentaries have evolved in practice and by 
> extension, definition. 

Don’t get me started!

Jeff Kreines
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Re: [Frameworks] Docs With Expressive Dramatizations

[Jeff Kreines]

> On Aug 29, 2016, at 5:44 PM, Fred Camper  wrote:
> 
> Do many people care about the difference at all anymore. Don't some 
> "theoreticians" even argue that the difference is irrelevant in our "fakey" 
> world?

Theoreticians?  Is that still a thing?


Jeff Kreines
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Re: [Frameworks] Docs With Expressive Dramatizations

[Jeff Kreines]

> 
> On Aug 29, 2016, at 12:42 PM, Ken Paul Rosenthal 
>  wrote:
> 
> I'm researching docs that feature expressive dramatizations, either as brief 
> interstitial moments or extended scenes such as 'The Act of Killing'. I look 
> forward to any and all suggestions. 


More proof the the word “documentary” or the ugly “docs” has lost all meaning.

How about calling them “docudramas” or “fictional reenactments of things that 
might have happened, as imagined by someone who probably wasn’t there when it 
did happen?”

Or “reality-inspired fiction.”

Yes, some of the earliest “documentaries” restaged events, because the 
technology made it difficult to capture things as they happened.  But many 
people labored long and hard to make it possible to film real life as it 
happened.  

Now it seems that many people prefer to fake it.  (There are entire series on 
PBS devoted to bad fake history “films” made by people who think they belong in 
Hollywood — e.g. American Masters.  Or watch “The History Channel.”)

Yes, The Act of Killing is not so simple-minded (though I have not seen it, 
I’ve read about it) but many more recent films are.

Jeff “grumpy old cinema-verite partisan” Kreines






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Re: [Frameworks] lens repair

[Jeff Kreines]

Bernd:

What kind of animation stand, what kind of camera?  Is the Angenieux 28mm S2 a 
pretty small lens?  It’s usually found on Eclair CM3s unless the user chose 
Cooke or Kinoptic lenses.  (There is a 28mm f/3.5 but that’s mostly a still 
camera lens, quite different.)

Thanks,

Jeff

> On Aug 27, 2016, at 6:34 AM, Bernd Luetzeler  wrote:
> 
> yes, there are actually 2 reasons, 1st it’s not my own lens, 2nd it’s part of 
> an animation stand and needs to plug into the follow focus mechanics…
> If it was my own lens, I  would probably take the risk and follow some online 
> instructions how to dismantle the elements, clean them and then glue them 
> with canada balsam.
> But I guess I first have to explore all other options…
> 
> thanks
> 
> Bernd
> 
> 
>> Am 22.08.2016 um 10:43 schrieb Jeff Kreines :
>> 
>> Not that great a lens-- any reason you can't use a similar focal length 
>> that's more easily found?
>> 
>> Jeff Kreines
>> Kinetta
>> j...@kinetta.com
>> kinetta.com
>> 
>>> On Aug 15, 2016, at 6:38 AM, Bernd Luetzeler  wrote:
>>> 
>>> Dear Jeff,
>>> 
>>> no it doesn’t seem like it’s easily replaceable, it’s a Angenieux 28mm 1.8 
>>> Type S2,
>>> and whatever I find online has astronomic prices.
>>> 
>>> thanks
>>> 
>>> Bernd 
>>> 
>>> 
>>>> Am 15.08.2016 um 13:32 schrieb Jeff Kreines :
>>>> 
>>>> A lot depends on which Angenieux lens it is.  If it's a common old lens 
>>>> like a 12-120, cheaper to find a replacement rather than fix it -- or get 
>>>> a used one to "borrow" the lens group from.  
>>>> 
>>>> Jeff Kreines
>>>> Kinetta
>>>> j...@kinetta.com
>>>> kinetta.com
>>>> 
>>>>> On Aug 15, 2016, at 6:09 AM, Bernd Luetzeler  wrote:
>>>>> 
>>>>> Dear Frameworkers,
>>>>> 
>>>>> by accident, I have spilled some Ballistol oil onto the front lens of an 
>>>>> Angenieux lens,
>>>>> and I am having a hard time finding someone who can repair it or help me 
>>>>> repair it myself.
>>>>> I have tried a local camera repair, the dismantled it but they could not 
>>>>> fix it.
>>>>> They said that the problem is that the two front elements are glued 
>>>>> together,
>>>>> and the oil has creeped into the gap between the lenses.
>>>>> 
>>>>> So I was wondering if there’s anyone here who knows what to do or where 
>>>>> to send it?
>>>>> I’m in Berlin, Germany…
>>>>> 
>>>>> Thanks
>>>>> 
>>>>> Bernd
>>>>> ___
>>>>> FrameWorks mailing list
>>>>> FrameWorks@jonasmekasfilms.com
>>>>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>>>> 
>>>> ___
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>>> 
>>> ___
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>> 
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> 
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Re: [Frameworks] oxberry 35mm repair?

[Jeff Kreines]

Scott:

What kind of film have you been running?

4 perf or 8 perf shuttle?

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

> On Aug 26, 2016, at 5:26 PM, Scott Stark  wrote:
> 
> Hi Jeff, yes it’s one of those “weird” Oxberrys made for still film 
> recorders, a Matrix PCS. So yes it does have those 100’ magazines. Do you 
> think the “pitch” of the sprockets is different than what it expects? I’ve 
> been using it for years and only recently has this become a problem.
>  
> I have tried to figure out where it’s breaking, but it happens infrequently 
> and is hard to catch – maybe once every 5 or 10 feet.
>  
> Thanks.
>  
> Scott Stark
> scottstark.com
> Experimental Response Cinema
> Flicker
>  
> From: FrameWorks [mailto:frameworks-boun...@jonasmekasfilms.com] On Behalf Of 
> Jeff Kreines
> Sent: Friday, August 26, 2016 4:48 PM
> To: Experimental Film Discussion List 
> Subject: Re: [Frameworks] oxberry 35mm repair?
>  
> My guess is the damage is coming from the shuttle. Try to run film until 
> there is damage and before I threading it mark all points of the film path on 
> the film with a Sharpie.  The Oxberry and Acme shuttles are very precise. 
> Make sure your film is the right pitch (.1866 with BH perfs, probably). 
>  
> Unless you have one of those weird Oxberrys made for still film recorders.  
> These had small square mags and are designed for still camera film. 
>  
> What kind of film recorder is it?
> 
> Jeff Kreines
> Kinetta
> j...@kinetta.com
> kinetta.com
> 
> On Aug 26, 2016, at 3:32 PM, Scott Stark  wrote:
> 
> Hi, I have an old Oxberry 35mm camera – not really a movie camera, it’s part 
> of a film recorder setup – that’s been breaking sprockets lately. I’ve been 
> unable to see what’s causing it. Can anyone recommend a repair person who 
> might be able to troubleshoot it? Thanks!
>  
> Scott Stark
> scottstark.com
> Experimental Response Cinema
> Flicker
>  
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Re: [Frameworks] oxberry 35mm repair?

[Jeff Kreines]

My guess is the damage is coming from the shuttle. Try to run film until there 
is damage and before I threading it mark all points of the film path on the 
film with a Sharpie.  The Oxberry and Acme shuttles are very precise. Make sure 
your film is the right pitch (.1866 with BH perfs, probably). 

Unless you have one of those weird Oxberrys made for still film recorders.  
These had small square mags and are designed for still camera film. 

What kind of film recorder is it?

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

> On Aug 26, 2016, at 3:32 PM, Scott Stark  wrote:
> 
> Hi, I have an old Oxberry 35mm camera – not really a movie camera, it’s part 
> of a film recorder setup – that’s been breaking sprockets lately. I’ve been 
> unable to see what’s causing it. Can anyone recommend a repair person who 
> might be able to troubleshoot it? Thanks!
>  
> Scott Stark
> scottstark.com
> Experimental Response Cinema
> Flicker
>  
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Re: [Frameworks] lens repair

[Jeff Kreines]

Not that great a lens-- any reason you can't use a similar focal length that's 
more easily found?

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

> On Aug 15, 2016, at 6:38 AM, Bernd Luetzeler  wrote:
> 
> Dear Jeff,
> 
> no it doesn’t seem like it’s easily replaceable, it’s a Angenieux 28mm 1.8 
> Type S2,
> and whatever I find online has astronomic prices.
> 
> thanks
> 
> Bernd 
> 
> 
>> Am 15.08.2016 um 13:32 schrieb Jeff Kreines :
>> 
>> A lot depends on which Angenieux lens it is.  If it's a common old lens like 
>> a 12-120, cheaper to find a replacement rather than fix it -- or get a used 
>> one to "borrow" the lens group from.  
>> 
>> Jeff Kreines
>> Kinetta
>> j...@kinetta.com
>> kinetta.com
>> 
>>> On Aug 15, 2016, at 6:09 AM, Bernd Luetzeler  wrote:
>>> 
>>> Dear Frameworkers,
>>> 
>>> by accident, I have spilled some Ballistol oil onto the front lens of an 
>>> Angenieux lens,
>>> and I am having a hard time finding someone who can repair it or help me 
>>> repair it myself.
>>> I have tried a local camera repair, the dismantled it but they could not 
>>> fix it.
>>> They said that the problem is that the two front elements are glued 
>>> together,
>>> and the oil has creeped into the gap between the lenses.
>>> 
>>> So I was wondering if there’s anyone here who knows what to do or where to 
>>> send it?
>>> I’m in Berlin, Germany…
>>> 
>>> Thanks
>>> 
>>> Bernd
>>> ___
>>> FrameWorks mailing list
>>> FrameWorks@jonasmekasfilms.com
>>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>> 
>> ___
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>> https://mailman-mail5.webfaction.com/listinfo/frameworks
> 
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Re: [Frameworks] lens repair

[Jeff Kreines]

A lot depends on which Angenieux lens it is.  If it's a common old lens like a 
12-120, cheaper to find a replacement rather than fix it -- or get a used one 
to "borrow" the lens group from.  

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

> On Aug 15, 2016, at 6:09 AM, Bernd Luetzeler  wrote:
> 
> Dear Frameworkers,
> 
> by accident, I have spilled some Ballistol oil onto the front lens of an 
> Angenieux lens,
> and I am having a hard time finding someone who can repair it or help me 
> repair it myself.
> I have tried a local camera repair, the dismantled it but they could not fix 
> it.
> They said that the problem is that the two front elements are glued together,
> and the oil has creeped into the gap between the lenses.
> 
> So I was wondering if there’s anyone here who knows what to do or where to 
> send it?
> I’m in Berlin, Germany…
> 
> Thanks
> 
> Bernd
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Re: [Frameworks] leads for research on USIA and avant-garde film?

[Jeff Kreines]

Adam:

Sorry to be such a verité-Nazi….

Best,

Jeff

> On Aug 2, 2016, at 11:44 PM, Adam Hyman  wrote:
> 
> I accept your point; even right after I sent it, I debated whether
> "verité" was correct.
> 
> Best regards,
> 
> Adam
> 
> On 8/2/16 9:21 PM, "Jeff Kreines"  wrote:
> 
>> 
>>> On Aug 2, 2016, at 11:08 PM, Adam Hyman  wrote:
>>> 
>>>>> but uses the tools
>>>>> of verité documentary to show the market, with the subtext
>>>>> of how people
>> 
>> 
>> I would have to disagree, as one of the primary elements of
>> cinema-verité/direct cinema filmmaking is sync sound.  I realize this
>> film was made to be usable without requiring subtitles, so there¹s no
>> dialog ‹ but it¹s more ³early 60¹s documentary² style rather than
>> ³verité² in my very sectarian opinion!
>> 
>> 
>> Jeff Kreines
>> Kinetta
>> j...@kinetta.com
>> kinetta.com
>> 
>> 
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> 
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Re: [Frameworks] leads for research on USIA and avant-garde film?

[Jeff Kreines]

> On Aug 2, 2016, at 11:08 PM, Adam Hyman  wrote:
> 
>>> but uses the tools
>>> of verité documentary to show the market, with the subtext
>>> of how people


I would have to disagree, as one of the primary elements of 
cinema-verité/direct cinema filmmaking is sync sound.  I realize this film was 
made to be usable without requiring subtitles, so there’s no dialog — but it’s 
more “early 60’s documentary” style rather than “verité” in my very sectarian 
opinion!


Jeff Kreines
Kinetta
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kinetta.com


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[Frameworks] Black Leader for A&B rolls

[Jeff Kreines]

I was talking to Tommy Aschenbach at Colorlab, and he said they just made a new 
batch of triacetate, camera pitch, 16mm black leader.  He said it’s extremely 
dense — their densitometer goes to about 5.1 but it’s denser than that.

If you are planning to cut A&B rolls, give them a call.


Jeff Kreines
Kinetta
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kinetta.com


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Re: [Frameworks] Resources on history of 16mm technology

[Jeff Kreines]

> On Jul 14, 2016, at 12:01 AM, Dave Tetzlaff  wrote:
> 
> "Craft services is for wussies." And I said, guys, the market that needs 
> reversal, and you need for reversal, and that BW reversal stocks that were 
> doesn't even know what 'craft services' means… 

I still don’t know…  Kodak has always been brain-dead.

Jeff Kreines
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kinetta.com


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Re: [Frameworks] Resources on history of 16mm technology

[Jeff Kreines]

For those overly interested in lab history in the late 70s, I just stumbled 
onto this:



http://ieeexplore.ieee.org/stamp/stamp.jsp?arnumber=7242420


Only geeks need apply.


> On Jul 13, 2016, at 6:55 PM, Jeff Kreines  wrote:
> 
> Color negative in 16mm was used in Europe, especially the UK, before it 
> caught on in the US.  The stock from 1968 - 1973 — 7254/5254, the last of the 
> ECN-1 stocks, was quite lovely.  Kodak replaced it with the hideous 
> 7247/5247, and really pushed 16mm “producers” to switch to it because it was 
> more “professional.”  It was easy to expose (just overexpose a stop) but you 
> lost many of the advantages of color reversal — easy supers and fades with 
> A&B rolls (if you like that sort of thing), fewer problems with 
> dirt/dust/scratches, and the ability to push film and shoot in very low 
> light.  (The right lab could push 7242 three stops to EI 1000 — whereas 7247 
> did not push well, which begat chemical flashing processes like TVC’s 
> Chemtone.)
> 
> One big advantage of reversal stocks was the ability to make dupe negatives 
> and release prints in two generations (interneg and release print) — color 
> neg required an interpositive, a dupe neg, and then a print — adding expense 
> and reducing quality.  (CRI is another tale — good idea poorly done — so save 
> a step by essentially using ECO to dupe negatives, but it was a disaster and 
> didn’t last.  But I digress.)
> 
> Pretty much all color theatrical documentaries, starting with Monterey Pop, 
> were shot on glorious Ektachrome, often a mix of 7255/7252 (ECO), and 7242.  
> Woodstock, Gimme Shelter too.  Color negative invaded this world around ’73 
> or so, slightly earlier in the UK.  (Gray Gardens was an early color neg 
> documentary.)
> 
> Kodak worked hard to shoot themselves in the foot (their area of expertise) 
> and kill off color reversal.  They lost the world of TV news after the Hunt 
> Brothers’ Silver Bubble — using it as an excuse to raise prices even after 
> the bubble burst — and TV embraced clumsy expensive video rigs earlier than 
> they would have.  Of course they also killed off all reversal print stocks…  
> don’t get me started.
> 
> There were other stocks, too.  Anscochrome, as Mark mentions, was a cheaper 
> alternative to Kodak stocks, and Geva’s color reversal stocks were 
> interesting because they were low contrast — their 16mm color print stock 
> Gevachrome 9.06 was great for printing Ektachrome 7242.  Kodak did not have 
> an equivalent low contrast color print stock until they did a little 
> industrial espionage at DuArt, a major Geva lab at the time.
> 
> And then there was a  much larger world of B&W stocks.  Agfa, Ansco, Dupont, 
> Ilford, Ferrania, and many more.  Back then, they slathered on the silver 
> with a trowel.  Today, not so much.
> 
> Jeff “remembers a lot of useless information” Kreines
> 
> 
> 
> 
>> On Jul 13, 2016, at 5:51 PM, Mark Toscano  wrote:
>> 
>> My one counter to David's comments (if I'm reading you right) would be that 
>> the vast majority of artists working in 16mm from the '40s through the '60s 
>> did in fact use Kodachrome and Ektachrome, among other stocks.  Color 
>> negative didn't even exist in 16mm until 1964, and very few "experimental 
>> filmmakers" used it much until the later '70s or even early '80s.  And 
>> throughout some of this period, you could get your stocks edge numbered if 
>> you wanted, and plenty of people did.  Even Gimme Shelter was shot on 
>> Ektachrome.  Plenty of other filmmakers didn't bother workprinting, or did 
>> so without using edge numbers for matching (Brakhage never workprinted, for 
>> instance).
>> 
>> The basically forgotten Anscochrome was a popular stock in the '50s and '60s 
>> too.  Brakhage shot Window Water Baby Moving and several of his other early 
>> color films on it.  Kodak introduced a lower contrast stock called 
>> Kodachrome Commercial in 1946 specifically to target people wanting to shoot 
>> color more professionally.  Curtis Harrington shot The Assignation on it.  
>> It was replaced by Ektachrome Commercial (ECO) in 1958, which was a 
>> lower-contrast, slow Ektachrome designed to be printed rather than 
>> direct-projected.  ECO was absurdly widely used until the early '80s.
>> 
>> Mark T
>> 
>> On Wed, Jul 13, 2016 at 12:58 PM, Dave Tetzlaff  wrote:
>>> I'm writing about the use of 16mm in experimental filmmaking of the 1970s 
>>> and am looking for texts that deal with the history of film technology, 
>>> scholarly sources that look, for example, at the emergence of 16mm a

Re: [Frameworks] Resources on history of 16mm technology

[Jeff Kreines]

> On Jul 13, 2016, at 7:19 PM, Scott Dorsey  wrote:
> 
>  don't remember the silver bubble having a huge effect on film stocks
> other than the prices…

The prices went up 100% and only dropped 50% after the bubble burst.

Lower silver content happened later — but when I look at older B&W reversal I 
shot in the 70s, boy, it sure is silvery!

Jeff Kreines
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kinetta.com


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Re: [Frameworks] Resources on history of 16mm technology

[Jeff Kreines]

> On Jul 13, 2016, at 7:16 PM, Scott Dorsey  wrote:
> 
>  You could save some money by getting B&W workprints
> of your color original, but shooting reversal allowed you to edit the
> camera original directly without having to go back and conform. 

Or you could do what we did — “cull” your original, and only workprint what you 
needed.

> I gave Scott Norwood a copy of the 1978 price list from W.A. Palmer films
> which I got when I was working on low budget surf films as a much younger
> person.  

Oh, those are so sad to look at now….

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com


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Re: [Frameworks] Resources on history of 16mm technology

[Jeff Kreines]

ith edge 
> numbers.
> 
> The history of documentary tech is a whole 'nother creature -- all 16mm up to 
> the 70s -- but marked by advances in blipping, sound sync, battery power, 
> coaxial magazines, reflex finders, etc. etc. (I have an AC-power only 
> Yoder-style chop-top in my closet, if anyone wants one…). Only in the 70s did 
> portable video emerge as a documentary medium, e.g. in the ½" open-reel 'Four 
> More Years' by TVTV.
> 
> Experimental filmmaking was not articulated to 'amateur' filmmaking as much 
> as industrial/educational filmmaking. Experimental filmmaking was dependent 
> on the wide availability of cameras, projectors, stocks, labs etc. primarily 
> used by the 'A/V' market. Once that market moved to video, those sources 
> began to dry up, posing ever-increasing difficulties to photo-chemical 
> experimental work. A tech history of experimental film in the 70s should also 
> look at it's intersections/oppositions to technologies used in 'video art', 
> e.g. in Scott Bartlett's 'Off/On', and computer graphics, e.g. John Whitney.
> 
> All that said, for the history of 'amateur' film, it would be remiss not to 
> mention the work of FRAMEWORKER Patti Zimmerman, noted on the CHM site Buck 
> linked.
> 
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Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com


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Re: [Frameworks] cubist film!

[Jeff Kreines]

Try posting it to the AMIA-L list — film archivists.  

See here for info on how to subscribe:

http://www.amianet.org/participate/listserv.php


> On May 12, 2016, at 9:02 PM, Ignacio Tamarit  
> wrote:
> 
> Hi everyone! Im looking for the film "Rigadin, cubist painter" (1910-1912) 
> from Georges Monca. There is so little information on the web about this 
> film. Has someone know if there is a video copy of this?

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com


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Re: [Frameworks] subtitle question

[Jeff Kreines]

> On May 12, 2016, at 5:28 PM, chris bravo  wrote:
> 
> i agree with the person above that having super long lines of text is v 
> annoying to scan while you are trying to watch a movie. cinema=eye-trace

Yes, that’s a serious consideration, especially when dealing with a “scope” 
frame.  At least these days you don’t have to prepare different versions in 
different aspect ratios, since your film can just be pillarboxed for HD.  SD, 
well, it doesn’t really matter anymore…


Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com


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