treet
Toronto, Ontario
M6H 2A3 CANADA
Questions to:
Executive Director Chris Kennedy at submissions(at)lift.on.ca
Subject Heading: LIFT International Artist Residencies 2016/17
___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-
ont Street
Toronto, Ontario
M6H 2A3 CANADA
Questions to:
Executive Director Chris Kennedy at submissions(at)lift.on.ca
Subject Heading: LIFT International Artist Residencies 2016/17
___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mai
NIAGARA CUSTOM LAB
JOB OPENING: FRONT END MANAGER
Toronto, Canada
Niagara Custom Lab is a full service motion picture film laboratory, one
of the last of a rare breed that focuses on providing the most complete
and diverse post-production services available. Our goal is to provide
these important
This is likely the ORWO stock that John Schwind repurposed as Cine-X. It
should be able to be processed just fine by any lab that still does black
and white reversal. Niagara Custom Lab or Cinelab are two possibilities.
And just ask them not to slit it (don't know if Cinelab would anyway,
Niagara d
Jodei
I've often wonder with shooting super 16 to create a soundtrack whether
the frameline creates an audible and constant frequency. Do you find that
to happen?
best
Chris
> Hi Adam,
>
> I'm not sure if this will be useful for your shooting conditions. But,
> when making optical sound films, I
For those of you close to Toronto or willing to make the trek (we greeted
a workshop participant from San Diego this summer!), LIFT's Fall 2015
Filmmaking Workshops schedule is now online at http://lift.ca/workshops
Registration opens Tue Sep 22
Workshops range from digital to celluloid. Notable
The fact that Noren was an archivist by trade gives hope to the fact that
his elements are probably thoughtfully stored somewhere (at least the ones
that weren't destroyed in an early fire, if I remember correctly) and
would be eventually available for preservation.
C
> When I first walked into t
I can understand that. There was a moment in the early 2000s when Susan
Oxtoby brought some of his films (and him) to Toronto over the course of a
few years. I likely saw about 4 or 5 of his films over that period and
still think of them often. A quick description --- rich high-contrast
imagery, lo
Barbara Lattanzi created a software that mimicked the editing structure of
Critical Mass:
http://www.wildernesspuppets.net/yarns/hfcriticalmass/main.html
I'm not sure if she based in on the actual "source code" of the original
film or just made a representation of the experience.
C
>> Watching
Barbara Lattanzi created a software that mimicked the editing structure of
Critical Mass:
http://www.wildernesspuppets.net/yarns/hfcriticalmass/main.html
I'm not sure if she based in on the actual "source code" of the original
film or just made a representation of the experience.
C
>> Watching
But that might temper my anger!
> Fight all you want, but please trim your posts down to the essential
> parts. Repeated quoting of entire digests and/or threads makes the list
> unreadable, especially for those of us receiving it in digest form.
>
> Best
>
> Bill Seery
> b...@mercermedia.com
> 21
It did strike me as odd that very few people mentioned anything recent.
From the context described it would seem that you would want to show work
that could inspire people to immediately "do" and sometimes that's a more
contemporary film. Two good filmmakers for that kind of inspiration, from
a fil
Kate Ewald, Meg Rorison, Steve Cossman, Julie Murray, Mary
Stark, Mary Helena Clark, Kerstin Schroedinger and Claudio Caldini (and
probably someone I'm missing) all come by for a visit and to work on their
films.
Get in touch!
Chris
--
Chris Kennedy - Executive Director
Liaison of Independent
rmation
> David E. James is on the faculty of the School of Cinematic Arts at the
> University of Southern California. His books include The Most Typical
> Avant-Garde: History and Geography of Minor Cinemas in Los Angeles.
>
> Adam Hyman has been Executive Director and Programme
16mm
> Fresh Kill, 1972, 12:56 min, color, sound, 16mm
> Clockshower 1973, 13:50 min, color, silent, 16mm
> City Slivers 1976 15min, color, silent, super 8mm transferred to 16mm
>
> TRT 51 min approx
>
> Q&A with Jessamyn Fiore <https://www.facebook.com/jessamyn.fiore
"And as for 35 outlasting 16, we've seen where that's gone -
only a handful of devoted cinephiliac venues and museums can handle 35mm
now, and a lot of those handle 16mm too."
Thanks Mark. That's my feeling, too. Just wanted to make sure you didn't
have some other observations that I was missing o
That would be a separate process.
John would shoot the negative.
You could get a 35mm track shot at Transit Audio/Skylight Studios
(http://www.skylightstudios.ca/), also in the Toronto area.
And you could get a married print (soundtrack + image) either at Niagara
Custom Lab (also Toronto) or your
Mark,
Since we're on the subject, is there a reason you're going to 35mm rather
than 16mm? Although 35mm is definitely more robust and beautiful (with a
great soundtrack potential), my sense now is that a 16mm print might have
longer life than a 35mm print.
Now that so many places have taken out
Hi Mark,
John's done two films for me (from super 8, regular 8 and 16mm to 35mm)
and has done excellent work.
He's also done Lina Rodriguez's super 8 to 35mmm blow-ups that you might
have seen at views a few years ago.
best
Chris
> Thanks Roger, just emailed John to ask him!
>
> And still happy
The link says Peter Adair worked on this project, but the book about the
project is written by Sol Worth and John Adair. Was Peter Adair (of Holy
Ghost People and Word is Out fame) actually involved in this project? Is
there a relation?
C
> That¹s the program! A pretty essential screening to inc
The link says Peter Adair worked on this project, but the book about the
project is written by Sol Worth and John Adair. Was Peter Adair (of Holy
Ghost People and Word is Out fame) actually involved in this project? Is
there a relation?
C
> That¹s the program! A pretty essential screening to inc
Vtape in Toronto distributes a wide variety for First Nation and
Indigenous video artists and filmmakers. Clicking the "aboriginal" button
in their advanced search option brings up 468 titles:
http://www.vtape.org/video-catalogue-advanced-search
They have many of these viewable for preview online
New York City & Boston Frameworkers might be interested in a great
documentary on North African migrancy showing as part of the Documentary
Fortnight at MOMA and then showing at Balagan Film.
The film was made at L'abominable by Maki Berchahe & Nathalie Nambot with
the assistance of Nicolas Rey. I
Looking forward to "Gibbons' Law" to be coined by the medical community.
> This guy is just a wanna be. Consider the real deal -
>
> http://en.wikipedia.org/wiki/Willie_Sutton
>
> 2015-01-11 19:03 GMT-04:00 Sharine Atif :
>
>> Greetings,
>>
>> Hope all is well.
>>
>> I asked to be added on the mai
I feel like this query has come up before...
> Looking for examples of films that have made attempts at visually
> capturing ( even narratively) this unique sensation
>
> Thanks in advance
> Daniel
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasf
I've had no idea how to read these numbers since they were kind of
delivered in a vacuum... how do they relate to 2011? 2009? How busy in
film is western canada compared to eastern? to north america? to europe?
How many customers does it represent? Its hard to extrapolate anything. It
would be inte
I'm not sure about cheapest, but we import Adox Super 8 and Foma Regular 8
and are pretty happy with the stocks. They can be bought in Europe from
www.adox.de/
best
Chris
LIFT
Toronto
>
> hello,someone can tell us the cheapest way to buy super8 black/white in
> europe, with and without developmen
It is indeed looking good. Not many people springing for the motion
pictures stocks, though (less than 10 percent of the backers).
> On Tue, Sep 30, 2014 at 12:26 PM, Nicholas Kovats
> wrote:
>
>> The Italian film manufacturing firm, Ferrania, have started a
>> Kickstarter campaign as of today to
Another film-list recommended Helmet Rings' Film 16 http://www.film16.de/
best
Chris
> Hello Frameworkers,
> I am soon to shoot quite a number of 16mm magazines for a film
> production. I don't want to take any risks with the material â of
course â, and was wondering if any of you has had rec
Great to hear Cinelab is covering the B&W processing front from Pac Lab.
Those still needed color reversal processing (whether their final rolls of
ektachrome or the recent Agfa/Wittner replacement) should keep in mind
Niagara Custom Lab in Toronto with their recently updated lab:
http://niagaracu
Sounds like Rebecca Baron and Douglas Goodwin's Lossless series.
http://www.vdb.org/titles/lossless-3
best
Chris
> Hi all, I have been trying to remember the name of a collaborative duo
> that made some videos I saw a few years ago. One of the long works was a
> video made from a Hollywood weste
And while we're at it... my understanding was that Annabel Nicholson's
Slides (also mentioned in this series of posts) was actually made on a
contact printer, sliding pieces of film along at different speeds. I think
her piece would be particularly hard to do in an optical printer, because
its so f
CFMDC in Toronto would likely be able to direct you to it, likely by
asking Michael on your behalf.
We showed A Casing Shelved last year at the Free Screen at TIFF
Cinematheque with Narcisa Hirsch's "Taller" (Workshop or Studio). She made
that forty years ago in Argentina after only reading about,
According to a british neg cutter on the cinematography forum, ORWO hs
also stopped production of their black leader.
One suggestion to conserve stock for neg cutting was to use only a foot of
real black leader on each end, slug in between, giving the lab enough time
to close the lamp for that sec
must be received no later than Tuesday, April 1, 2014.
Complete info online:
http://lift.ca/programming/call-submissions-international-artist-residencies-20142015
best,
Chris
--
Chris Kennedy - Executive Director
Liaison of Independent Filmmakers of Toronto (LIFT)
1137 Dupont Street, To
not on to ektachrome or some of color reversal process.
> quote a few labs I've talked to can do color slides, but most seem to
> think black and white reversal film doesn't exist.
>
> Anyone?
>
>
> --
> Pablo de Ocampo, Artistic Director
> THE IMAGES FESTIV
Definitely Peter Hutton's color films, Rebecca Meyers' blue mantle and T.
Marie's Slave Ship, which is inspired by the painting of the same name.
Scott MacDonald's book the Garden in the Machine, which you may have
encountered already, may be of help.
>
> Dear frameworks members,
>
> I'm contactin
idents are selected.
Submissions must be received no later than Tuesday, April 1, 2014.
Complete info online:
http://lift.ca/programming/call-submissions-international-artist-residencies-20142015
best,
Chris
--
Chris Kennedy - Executive Director
Liaison of Independent Filmmakers of Toronto (
Thanks, Gisele for the shout out.
LIFT does indeed have an artist in residence program. We have a call that
launches in the next month for a funded residency program, which is
contingent on outside funding. We're hosting Pablo Marin this month and
Anje Dornieden & Juan David Gonzalez Monroy next m
Hi Charles,
LIFT in Toronto sells FOMAPAN Regular 8, which is a lovely stock that I
believe is still being produced. We import it from Germany and can ship it
to the states.
Info here:
http://lift.ca/equipment/store/fomapan-regular-8mm-film-33-asa-100d80t
good luck
Chris
> Cool, thanks for your
Hi Ben,
John Kneller up in Toronto has done some nice blow-ups and optical prints
for me: knel...@rogers.com
best
Chris
> Dearest Frameworkers,
>
> I've got a 12:00 bit of B/W 16mm positive footage that I would like to
> have
> optically slowed down to around 20:00 using a Bezier curve (so that t
Sorry, wrong URL:
www.lift.ca/equipment/store
> LIFT in Toronto now has the Wittner Chrome 200D color reversal stock
> (repackaged AGFA Aviphot) available in super 8 and 16mm.
> Polyester stock, processed as E-6
>
> More info at
>
> www.lift.ca/store
>
> Glad there's still a color stock in existe
LIFT in Toronto now has the Wittner Chrome 200D color reversal stock
(repackaged AGFA Aviphot) available in super 8 and 16mm.
Polyester stock, processed as E-6
More info at
www.lift.ca/store
Glad there's still a color stock in existence.
--
Chris Kennedy - Executive Director
Liais
bmitted on the understanding that the projects execution
is contingent on funding yet to be secured.
Questions to:
Executive Director: Chris Kennedy at submissions(at)lift.on.ca
Subject Heading: LIFT International Artist Residencies 2013/14
Mail applications to:
International Artist Residenci
Hi Roger,
The tour looks great. You missed the workshops and other events on route.
For those in Toronto Roger will be teaching a workshop on using laser
printers for filmmaking at LIFT on October 29 and 30.
Details at:
http://lift.ca/workshops/filmmaking-your-home-printer
Ben
> All,
>
> Apolo
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