cameras is that all
the controls are electronic, so a cleaning and lube is a very easy job.
--scott
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er in your area who might have some idea of
old leftover supplies and older photographers.
--scott
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ith 30fps material though (especially with
interlace) other than rate conversion.
Modern rate conversion algorithms are much less annoying than the horrible
film chain pulldown mess that we saw on TV for so many years, but you can
still tell that something isn&#x
> Hi Pip, I?d be happy to use an optical sound camera or lab equivalent
Any lab should be willing to make you an optical track. Trackwise is gone,
but I know that Colorlab and Fotokem have sound cameras. I can do 16mm but
not 35mm any longer.
--sc
long time I ran Agfa ST-8 through the sound cameras, but that has
become difficult to find. That's also a polyester base.
I would not worry too much about running the new polyester film stocks in
a well-maintained Bolex.
--scott
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what happens, it should not be all
that hard to write a little script to create two white lines whose width
varies with modulation. Pull values one at a time out of a .wav file,
use them to set the width of the line directly.
--scott
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Hi Scott, I¹m not familiar with the Maurer but I want to create the visual
track that I can print to a strip of 35mm film (using a 35mm device I
have). I thought if there was some app or tool that could transfer a piece
of audio to its optical representation that might get me started.
Thanks
I'm not sure what you're asking. You want a Maurer sound camera or you want
something equivalent?
--scott
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Hi all, does anyone know of a tool that can generate an optical soundtrack
image? I looked on Google but all I could find was this
<http://www.kapotski.be/wp/?p=628> which I didn¹t quite understand.
Thanks, Scott
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them without oil or grease on
the intermittents.
--scott
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model in the first place so take it with a grain of salt and ask the guru.
--scott
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tical beeps.
I have never used a Coyote but I used to have some time on the Eagle and
Show Pro controllers from AVL. Do you have the Coyote manual?
The expert multimage guy is stevenmichael...@gmail.com and he will almost
certainly be able to figure out how the original configuration wa
documentary production is that all of the different jobs are
mashed together and the lines between them are blurred.
--scott
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blishing 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. R
B&W sections were all perfectly clear afterward because the emulsion was all
completely removed.
Color film is going to be more problematic... if it is long perf it's probably
best to just use it for soundtrack fill...
--scott
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*Way to go, Jonathan!*
*I look forward to reading it.*
*Scott*
On Tue, Jul 7, 2020 at 9:44 AM Jonathan Walley wrote:
> Dear Frameworkers,
>
> I am pleased to announce the publication of my book, *Cinema Expanded:
> Avant-Garde Film in the Age of Intermedia*, from Oxford Univ
version (or at easlt 250 ASA) and there isn't an E-6 print stock.
--scott
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I think the heavier Ries tripods are probably the best for fending off
alligators, if only because they extend to nearly six feet and you want to
keep alligators as far away from you as possible.
--scott
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anything being cleaned or
lubricated. The belts are bad, the grease is all caked up on everything.
It needs a PM... find a local tech to just do a cleaning and lube. And hope
you didn't do too much collateral damage by running it without one.
--scott
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sometimes has B&H classroom projectors. Cardinal Sound and Motion Picture
will have theatre projectors including the big arc head Elmos, but they
won't touch classroom stuff.
--scott
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Anyone mentioned La Jetee yet?
--scott
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Abdul Setoua is in Astoria, NY, he has a 718 area code number as I recall.
PAV is on Long Island. But it's not THAT hard to ship stuff off.
--scott
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lly good for something, please, please have a tech
do the work for you. These projectors are not being made any more and when
they get wrecked they aren't getting replaced. Proper maintenance will keep
them running a long time.
--scott
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.
Please do not apply power to a projector that has been on the shelf for
decades.
--scott
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> 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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ubber parts will be old and cracked.
--scott
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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 distanc
nt to New York but there are plenty of other
shops out there. Get the lens backfocus tested while it's on the bench.
--scott
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The heavy takeup reel isn't taking up better because it's heavy, it is taking
up better because the diameter of the center hub is larger. Just fix it.
--scott
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I'd ask a lab if they had any ancient intermediate films in the closet.
They'll be long KS perf which may or may not be a problem for you.
If you wanted 16mm, I have a couple cans of Television Recording Film
around here somewhere with mid-seventies date codes.
with 409, and put it back together.
--scott
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What is the diameter of the lens inside and out?
I have used the plastic covers from round military electronics connectors as
lenscaps for smaller lenses. I really prefer threaded lenscaps though.
--scott
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> The only movie about epidemics I like is The Andromeda Strain.
Andromeda Strain is a great, great film. However I urge you to watch
this short film of Steven King's story "Night Surf" which I think is
quite well-done:
https://www.youtube.com/watch?v=La
It is taken!
--scott
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thing, etc.
The first person willing to pay media mail shipping gets it. I have no
rights to any of the interviews so I'd kind of prefer it goes to a school
or something that is going to use it for editing practice. But once it is
is out of my hands it becomes your proble
Chambless almost always has them, and Chambless will do competent refurb
jobs on them. Of course, you have to pay Chambless prices but that is how
it goes.
You do know that there are plenty of other reflex cameras out there besides
the Scoopic and the Bolex, right?
--scott
use... the guillotine splicer is lightning fast and was a huge
thing when it came out.
--scott
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er
is for editing magfilm, so you get a smooth transition between sounds.
Kodak patented a tape splicer that made wierd U-shaped cuts, and sold it
as the Presstape Splicer. The splices are very very strong going through
a projector but look just ho
u pay double for in higher prices for refurbishment and basic maintenance.
--scott
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Yes, I mean Du-All.
I noticed Chambless's website is down today. Are they okay?
--scott
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Jeff, is the Rex 1 possible to refit with a Rex 5 finder? The Rex 1 finder is
really kind of horrible but I have never seen a retrofit done before.
> Get a 10mm Rx Switar and you're good to go.
I second this recommendation... I had no idea how cool this lens was until a
few years ago.
You tried DuArt and B&H's used division?
--scott
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*Thanks, Frameworkers,*
*I now have Guy Maddin's contact information.*
*All the best!*
*Scott*
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*Dear FRAMEWORKERS,*
*Hope you're doing okay in this strange strange moment, or as okay as
possible,. wherever you are.*
*If somebody has Guy Maddin's contact information, could you send it to my
personal email?*
*THANKS, in advance
I think they are talking about using a digital simulation of the large shutter
angle technique.
--scott
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*Agreed. The president would profit from this--it would just confirm his
way of dealing with people, as Fred says.*
*He is "successful" because he is great at drawing all attention to
himself. He doesn't need our help.*
*Scott*
*Central NY*
On Sat, Mar 28, 2020 at 8:11 PM Fre
ot, and
a solenoid. Would not be too hard to rig something up if you had the pinout
and controller diagrams.
--scott
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l or Whitehouse.
--scott
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The electronics in those motors aren't that hard to work on; anybody that
does camera electronics should be okay with it. It's not like a GSMO or
something full of weird proprietary parts. However, it's likely to be
PM time too.
--scott
__
ectrolytic
capacitors. If it's a wild DC motor, before doing anything open up the
brush compartments and make sure the brushes are in good condition. Always
keep spare brushes on hand.
--scott
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https:
"Affect" is another word that I think started out as psychological jargon and
has become more widespread.
--scott
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films worth trying to see.
Any suggestions ?
Scott Hammen
On Thu, 13 Feb 2020 at 16:08, Ignacio Tamarit
wrote:
> Hi Albert!
>
> I do know that there was a class of cameraless animation at FUC (Fundación
> Universidad del Cine) for the people that study the animation degree, but I
*Congratulations Gene--didn't see this coming, but glad it's arrived!*
*The original was one of the first film books I ever bought (and it
inspired, in recent years, to press for color imagery in several of my
books).*
*Scott*
On Wed, Feb 5, 2020 at 10:46 PM Gene Youngbl
*Dear Frameworkers,*
*Happy January.*
*Does anyone have contact information for Akiva Gottlieb, who sometimes
writes for The Nation, Slant, and other publications?*
*Please contact me off-line >.*
*Thanks!*
*Scott*
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uire the latest browser and other updates on your desktop
computer.
You don't want to deal with this with an editing workstation. If you want
to edit, don't do it on the computer you surf the web with, don't do it on
a machine that you
in a
dialogue with anonymity. Originally presented in 2017 at the Elias Querejeta
Zine Eskola in San Sebastian, the illustrated talk will run approximately 45
minutes, and will be followed by a screening of approximately 60 minutes,
featuring work by Rebecca Baron & Doug Goodwin, James N. Kienitz
just ignore the DVD.
--scott
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a mystery, but the exact base formulation of some
older films is.
--scott
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97o
May require some explanation about swimming the atlantic and so forth.
So many of the abstract films I can think of are anything but slow and
contemplative...
--scott
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*Frameworkers:*
*Does anyone have an email address for Shirin Neshat?*
*Please let me know off-line at >*
*Scott*
*Scott MacDonald*
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azimuth test after lining my
dubber up with an original Disney one that I have... but for many years
I have been telling people never to trust that sort of thing and I am
not going to stop now.
--scott
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f folks doing moving ones artistically today so it could be
really cool.
--scott
lens was originally designed
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the end, but will need way shorter developing times to get the same gamma
as D-76 and the like. It is fairly easy to make, all the reagents are
pretty common ones.
--scott
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at 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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Hey Kornelia,
Nina Davenport's *Parallel Lines *(2004)
Véréna Paravel *7 Queens *(2008)
Ellen Spiro *Greetings from Out Here* (1993) and *Roam Sweet Home* (1997)
Scott
On Fri, Oct 18, 2019 at 10:58 PM Kornelia Boczkowska <
kornelia.boczkow...@gmail.com> wrote:
> Hi all,
>
ere were a lot of H16 variants with and without the variable
pitch shutter, so make sure you know precisely what parts you need to order.
--scott
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Take it back. Someone worked on the shutter, they didn't set the shutter
phase correctly when they re-assembled it... they need to make it right.
--scott
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I didn't think it was all that great, but the sequel with Peter Lorre was
wonderful.
--scott
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*Hey Brigitta,*
*I hope you find it useful.*
*Scott*
On Wed, Jul 31, 2019 at 4:21 AM Brigitta Burger-Utzer <
brigi...@sixpackfilm.com> wrote:
> very interesting, dear Scott and thanks especially for the discount, I
> will order one of the books right now!
> all the best, Brigit
treasure, until now. Reading
this book can only enlarge our love for what the camera sees when it looks
afresh at the world we think we already know.”—Bill Nichols, author of
Introduction to Documentary 3rd edition.*
*Best,*
*Scott*
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. Or you could make a super-concentrated solution with a little glycol
and let them mix down from that.
I'm curious why you're using a paper developer instead of ordinary D-19,
though. D-19 will definitely give you finer grain.
--scott
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en so many fine machines headed off to scrap metal and I urge
anyone at an academic institution that does not have an auditorium
equipped for 35mm to do so today because it can be done at such cut rate
prices now.
--scott
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most dramatic effect would be to have the lab pull
separations onto panchromatic B&W high contrast stock and then have them
recombine them back into a color print. The effect is like a poster, with
very solid colors.
--scott
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F
> If I rate it at 200 ASA Daylight, and open up two stops, this should be
> correct, no?
Why opening two stops? Do you have a prism that loses 3/4 of the light
or some other reason your f-stop on the lens doesn't reflect the real t-st
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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film tank for test purposes,
since you can work with the lights up and read a book while you are waiting
for extended development time. You'll likely be doing a lot of tests.
--scott
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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 tim
Dolby SR/D -is- an AC-3 datastream.
--scott
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It's not related to Dolby SR at all. It's "Dolby Digital."
Yeah, I know the button on the machine is marked SR/D but that is marketing.
--scott
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y for any
sound post house to prep your tracks. But it may not be needed anyway
depending on where you intend on screening.
--scott
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I agree about shooting a test... but I suggest shooting a test at 1fps or
so... keep the shutter open as long as you can
Even wide open that may not be enough.
--scott
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You might try Optech in Boston. They don't have a lot of parts for
older camera lenses available, since they work mostly on projection
lenses, but they do good work (if not quickly).
--scott
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Does it have to be in realtime? Light levels will be very very low,
but undercranking the camera might make it possible to record something.
--scott
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is a temporary operation.
--scott
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Shall Not Grow Old.*
*But you may have a concern that (A) you just did a Gianikian/RicciLucchi
spread and (B) you might not want something from me so soon.*
*I'm not positive I would make the July deadline in any case, but maybe. *
*What do you think?*
*Scott*
On Tue, May 14, 2019 at 4:0
g it would not be too hard.
--scott
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Copies are out there and shouldn't be very expensive. There are plenty of
other good books, but most of them will be found in the references in the
back of Mees.
--scott
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*Hey Ron,*
*And Snow's See You Later/Au Revoir, in a way.*
*Didn't know about Nikki Swift--thanks for the heads-up!*
*Best Regards,*
*Scott*
On Fri, May 3, 2019 at 8:31 AM Green, Ron Green wrote:
> Hi Scott,
>
> Michael Snow's "walking woman" stuff,
*Frameworkers!*
*Thanks to all who have brought my attention to films focused on walking.*
*Much appreciated!*
*Scott*
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*Hey Frameworkers,*
*A colleague is interested in films in which walking is a central formal
thread.*
*Do any of you have suggestions? *
*Please contact me separately.*
*Scott*
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I agree that prescreening is the problem but the -reason- why prescreening
is so difficult is the sheer volume of material coming in.
--scott
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41 machine.
E-6 is a special case because the E-6 dye coupler chemistry is very similar
to that of C-41 and they use the same color developing agent. So you can
cross process C-41 in E-6 chemistry and vice-versa and get an image, though
your c
world is
Kodachrome because it is so valuable as a long-term archiving material.
--scott
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like that
reversal look. It runs E-6.
--scott
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According to the 1998 Photo-Lab-Index on my desk, those were distributed in
the US by HP Marketing, Pinebrook, NJ. No info on Europe but you
could try HP at +1 973-808-9010 and see if there is anyone left that knows it.
--scott
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to work on that your local tech should
have no problem. It's not like working on a modern zoom with a bunch
of moving elements that are all coupled together, it's just one element
moving in and out.
--scott
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27;s dirt cheap compared with a new prime lens.
--scott
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It's cheaper but it's print perf which means it's hard to print well,
and it's polyester which means no cement splicing. And slow of course,
although that could be a plus.
--scott
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Can you send it back for a rescan?
--scott
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Okay, because there is one model that is sold in the US under the name of
Vanguard which calls itself a xenon unit but in fact uses a Marc-300 lamp
and should be avoided.
If anyone has any service documentation on any of these cineangiography
viewers, I would love to see it.
--scott
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