+1 for Vade's shaders. I haven't used them for anything useful but they
are a great example of digital tools emulating analog processes. I use
MAX for all of my work, although it only sometimes resembles analog
processes. Here are 2 examples:
In The Shape of Memory MAX algorithmically
Digital photo-animation ok, or do you prefer film? I used Fibonacci sequence as
a control via frame counts for a digitally-composed animation a while back ...
Jessica
http://drawclose.com
On Aug 5, 2014, at 6:45 PM, Mark Toscano fiddy...@gmail.com wrote:
Roberta Friedman and Grahame
That ‘Video Silence’ piece is fascinating.
Peter
(Perth)
From: Zach Poff z...@zachpoff.commailto:z...@zachpoff.com
Reply-To: Experimental Film Discussion List
frameworks@jonasmekasfilms.commailto:frameworks@jonasmekasfilms.com
Date: Wednesday, 6 August 2014 9:39 pm
To:
I agree. I'd be interested btw to know if there's a subset of this list
that's interested in sound design in particular. Could be practical or
theoretical. Zach references Michel Chion on his site for example.
Of interest to some http://www.nicolascollins.com/texts/callforsilence.pdf
On Wed,
How about Pat O'Neill's work? 'Water and power', for example...
On Wed, August 6, 2014 6:06 pm, Caryn Cline wrote:
Dear Frameworkers,
If I were going to undertake a series of screenings showcasing optical
printer techniques, what work would you recommend? What is the best work
for
Hmm, very interesting. I am surprised by the processing at less than a
minute!
Thanks for this info.
Best,
Erin
On Mon, Aug 4, 2014 at 2:13 PM, Beebe, Roger W. beebe...@osu.edu wrote:
I’ve used Dektol with hi-con plenty, but my experience is that exposure
times are VERY short, definitely
Monkey's Birthday, David Larcher; - colour separation, superimposition,
bi-packing etc.
Slides, Annabel Nicholson; pulling film through the gate etc
Film Sound, Andy Moss; short edits/loops (sound and picture), superimpositions
(all at LUX, London.)
Rob
From: Caryn Cline
The entire oeuvre of Pat O¹Neill is essential, and very influential.
We did a screening with a various of interesting optically printed films as
part of Alternative Projections.
http://www.alternativeprojections.com/screening-series/visions-memory-and-a-
machine-optical-manipulations/
On 8/6/14
In my humble opinion, Pat O'Neill is the master
of optical printing. Water and Power is a great
film, as are all of his. My personal favorites
are Trouble in the Image and The Decay of
Fiction. The latter is perhaps the greatest
single example of optical printer work ever
produced, but as
Reinventing the amplifier:
https://www.youtube.com/watch?v=SqtlAeUTfHA
Best regards,
Stephen Parr
Director
Oddball Film+Video
www.oddballfilm.com
Oddball Films
www.oddballfilms.blogspot.com
275 Capp Street
San Francisco, CA 94110
Phone 415.558.8112
Fax 415.558.8116
For a link to our
Great sound! I think I might have to give that a whirl
Sent from my iPhone
On Aug 6, 2014, at 11:57 AM, Info i...@oddballfilm.com wrote:
Reinventing the amplifier:
https://www.youtube.com/watch?v=SqtlAeUTfHA
Best regards,
Stephen Parr
Director
Oddball Film+Video
Yes I'm looking for a diversity of approaches to show my students! Thanks for
all for the suggestions - Cade
Sent from my iPhone
On Aug 6, 2014, at 8:13 AM, J. Fenlon snowbloods.para...@gmail.com wrote:
Digital photo-animation ok, or do you prefer film? I used Fibonacci sequence
as a
Peter Tscherkassky
On Aug 6, 2014, at 12:22 PM, c b bigmuddy2...@hotmail.com wrote:
Martin Arnold's early films
Sent from my iPhone
On Aug 6, 2014, at 10:06 AM, Caryn Cline carynycl...@gmail.com wrote:
Dear Frameworkers,
If I were going to undertake a series of screenings
Hi Carolyn,
Below is the screening list from the last time I taught Optical Printing at
Columbia College. I agree that Pat O'Neill is probably the greatest example
of Optical Printing artistry, and include much of his work is available for
purchase in DVD form. However, I would also stress that
beautiful/strange https://vimeo.com/7656765
a 3-minute animation made in a 72-hour filmmaking ‘challenge weekend’ in 2006.
Fibonnacci in relationship to time.
Thanks!
Jessica
http://www.drawclose.com
On Aug 6, 2014, at 2:25 PM, c b bigmuddy2...@hotmail.com wrote:
Yes I'm looking for a
May interest you-
Not a F. Seq. , but Frampton's Zorn's Lemma is based on a math thing
Too bad I flunked math.
2014-08-06 15:28 GMT-04:00 Lady Snowblood snowbloods.para...@gmail.com:
beautiful/strange https://vimeo.com/7656765
a 3-minute animation made in a 72-hour filmmaking ‘challenge
These are not films, but the 16 Accretions linked to near the top of
this page
http://fredcamper.com/A/index1.html
are series of photo-based digital prints that have cinema as one key
inspiration. The use of Fibonacci numbers in them should be obvious.
They do have some aspects of
My experience with Dektol and 3378 (formerly 7378) still a high-con
orthochromatic stock, but slightly different, was always around 90 seconds.
I worked with both lomo spiral tanks, as well as spaghetti style in buckets,
and strips wrapped around plexi glass in photo paper trays for the 90
Baillie's CASTRO STREET has no optical printing in it. It's all in-camera
matting or A/B/C lab printing.
Also, it periodically needs to be said that Pat O'Neill's 7362 has NO
optical printing in it whatsoever. It's all contact printing and
hand-processing. A lot of people tend to talk about
Shhh, don't tell everyone. It's one of the best poorly-kept secrets of
film/guitar tube electronics nerds. The Moviola/Magnasync URS is
basically the same amp circuit as a tweed Fender Champ -- 12AX7 + 6V6.
There are numerous online tutorials to convert the input for a guitar
level signal.
This has me thinking about other guitar applications of obsolete film
tech. IR optical pickups are now available, but has anyone tested old
16mm optical heads with strings? Is the response rate fast enough for a
string's vibration? I envision a frankenguitar of unplayable
proportions and
In the same spirit as Mark's post, I wanted to note that Peter Tscherkassky's
Cinemascope trilogy is actually contact printed in short stretches (much of
it using a laser pointer) rather than optically printed. He must surely have
used an optical printer in some of his films (maybe Happy End,
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