From: marianna s. ellenberg (email suppressed)
Date: Mon Jan 05 2009 - 06:38:27 PST
Does anyone know were to get dirt in the city for an animation? I
assume sculpture supply stores might have it, but not sure where to
look.
Cheers,
Marianna
email suppressed
On Jan 5, 2009, at 12:00 AM, FRAMEWORKS automatic digest system wrote:
> There are 5 messages totalling 234 lines in this issue.
>
> Topics of the week:
>
> 1. projecting super-16mm (3)
> 2. 16mm daylight spools and cored
> 3. Advice cinema of war
>
>
> __________________________________________________________________
> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>
>
> ----------------------------------------------------------------------
>
> Date: Sun, 4 Jan 2009 12:41:47 -0500
> From: marco poloni <email suppressed>
> Subject: projecting super-16mm
>
> Hello all,
>
> Does anybody have knowledge as to converting a 16mm Eiki SSL on NT
> projector to run Super-16? In principle it would be as easy as
> milling the gate and pressure plate to the ISO-standard “Type
> W” aperture of S-16mm, and maybe modifying the rollers too, but
> I've heard it is actually tricky because the lamp might need to be
> re-positioned in its housing, realigning the whole optical path, etc..
>
> Also, I'm interested in syncing sound. As there's no space for an
> optical track on S-16, I figured out the film should have a cue (eg
> a transparent frame) read by an optical diode that would send a
> signal to a device, eg Max MSP driving an MP3 reader, or some
> custom-made electronics driving a solid-state reader (eg “ProDVX
> F100 Digital Solid State Video Player” which is extensively used
> in art venues, museums, etc.).
>
> Thanks!
> Marco
>
> ------------------------------------------------
> Marco Poloni, Korsörer Strasse 1, D-10437 Berlin
> gsm +41.78.6322028, skype marcopoloni
>
>
> __________________________________________________________________
> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>
> ------------------------------
>
> Date: Sun, 4 Jan 2009 18:07:30 +0000
> From: Nicky Hamlyn <email suppressed>
> Subject: Re: projecting super-16mm
>
> The technology you desire already exists. It was prototyped by Martin
> Sawyer, a film sound engineer in London: http://
> www.filmsoundfacilities.co.uk
>
> The very narrow space between the edge of the Super 16mm frame and
> the celluloid edge is occupied by a synce pulse track that controls a
> hard drive/player.
>
> Nicky Hamlyn.
>
>
> On 4 Jan 2009, at 17:41, marco poloni wrote:
>
>> Hello all,
>>
>>
>> Also, I'm interested in syncing sound. As there's no space for an
>> optical track on S-16, I figured out the film should have a cue (eg
>> a transparent frame) read by an optical diode that would send a
>> signal to a device, eg Max MSP driving an MP3 reader, or some
>> custom-made electronics driving a solid-state reader (eg “ProDVX
>> F100 Digital Solid State Video Player” which is extensively used in
>> art venues, museums, etc.).
>>
>> Thanks!
>> Marco
>>
>> ------------------------------------------------
>> Marco Poloni, Korsörer Strasse 1, D-10437 Berlin
>> gsm +41.78.6322028, skype marcopoloni
>>
>>
>> __________________________________________________________________
>> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>
>
> __________________________________________________________________
> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>
> ------------------------------
>
> Date: Sun, 4 Jan 2009 13:23:22 -0500
> From: marco poloni <email suppressed>
> Subject: Re: projecting super-16mm
>
> Wow. Excellent. I'll follow-up right away! Thanks, Marco
>
> -----Original Message-----
>> From: Nicky Hamlyn <email suppressed>
>> Sent: Jan 4, 2009 1:07 PM
>> To: email suppressed
>> Subject: Re: projecting super-16mm
>>
>> The technology you desire already exists. It was prototyped by Martin
>> Sawyer, a film sound engineer in London: http://
>> www.filmsoundfacilities.co.uk
>>
>> The very narrow space between the edge of the Super 16mm frame and
>> the celluloid edge is occupied by a synce pulse track that controls a
>> hard drive/player.
>>
>> Nicky Hamlyn.
>>
>>
>> On 4 Jan 2009, at 17:41, marco poloni wrote:
>>
>>> Hello all,
>>>
>>>
>>> Also, I'm interested in syncing sound. As there's no space for an
>>> optical track on S-16, I figured out the film should have a cue (eg
>>> a transparent frame) read by an optical diode that would send a
>>> signal to a device, eg Max MSP driving an MP3 reader, or some
>>> custom-made electronics driving a solid-state reader (eg “ProDVX
>>> F100 Digital Solid State Video Player” which is extensively
>>> used in
>>> art venues, museums, etc.).
>>>
>>> Thanks!
>>> Marco
>>>
>>> ------------------------------------------------
>>> Marco Poloni, Korsörer Strasse 1, D-10437 Berlin
>>> gsm +41.78.6322028, skype marcopoloni
>>>
>>>
>>> __________________________________________________________________
>>> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>>
>>
>> __________________________________________________________________
>> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>
>
> ------------------------------------------------
> Marco Poloni, Korsörer Strasse 1, D-10437 Berlin
> gsm +41.78.6322028, skype marcopoloni
>
>
> __________________________________________________________________
> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>
> ------------------------------
>
> Date: Sun, 4 Jan 2009 10:43:00 -0800
> From: scott nyerges <email suppressed>
> Subject: 16mm daylight spools and cored
>
> Thanks to all for the input on recycling tapes.
>
> While I'm at it, I've got about a dozen 16mm daylight spools w.
> boxes and about two dozen 16mm cores. Free for whoever wants 'em in
> NYC.
>
> -> Scott Nyerges
>
>
>
>
>
> __________________________________________________________________
> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>
> ------------------------------
>
> Date: Sun, 4 Jan 2009 17:01:45 -0500
> From: "William Wees, Dr." <email suppressed>
> Subject: Re: Advice cinema of war
>
> Has anyone mentioned Phil Patiris's video "The Iraq Campaign 1991:
> A Television History (aka 'Network Storm')"?
>
> --Bill Wees
>
> ________________________________________
> From: Experimental Film Discussion List
> [email suppressed] On Behalf Of madeleine bernstorff
> [email suppressed]
> Sent: January 3, 2009 5:32 PM
> To: email suppressed
> Subject: AW: Advice cinema of war
>
> Sean Snyder's CASIO, SEIKO, SHERATON, TOYOTA, MARS (2004/2005)
> deals with Iraq war.
>
> John Smith's FROZEN WAR with the beginning of bombarding afghanistan.
>
> Jill Godmillow's WHAT FAROCKI TAUGHT hasn't lost it's urgency...
>
> And maybe less obvious:
> Judith Hopf, Stephan Geene: BEI MIR ZU DIR (low dunkel)...
>
> Greetings from Berlin
> madeleine
>
>
> --
>
>
>
> --
>
>
>
>> Von: Meredith Drum <email suppressed>
>> Antworten an: Experimental Film Discussion List
>> <email suppressed>
>> Datum: Sat, 3 Jan 2009 17:08:48 -0500
>> An: <email suppressed>
>> Betreff: Advice cinema of war
>>
>> Hi Frameworks List,
>>
>> I am looking for advice regarding a cinema program I am putting
>> together on the subject of the U.S. war in Iraq and related wars. My
>> co-programmer Mary Billyou and I will present the screenings at the
>> upcoming Scope NYC art fair. I am looking for ideas of works to
>> consider. If anyone has any suggestions of recent films and videos by
>> artists / documentarians considering the war, please send them my
>> way.
>> We are looking at a range of works -- most of them experimental in
>> form / perspective but a few of them are expository / journalistic.
>> Most are under 20 min but a few are about an hour long. Thanks.
>>
>> Cheers!
>> Meredith Drum
>>
>>
>> __________________________________________________________________
>> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>
>
> __________________________________________________________________
> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>
>
> __________________________________________________________________
> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>
> ------------------------------
>
> End of FRAMEWORKS Digest - 4 Jan 2009 (#2009-6)
> ***********************************************
__________________________________________________________________
For info on FrameWorks, contact Pip Chodorov at <email suppressed>.