From: Dinorah de Jesús Rodriguez (email suppressed)
Date: Mon Jul 05 2010 - 04:11:31 PDT
hi Anja,
i use Jacquard silk dyes to paint on celluloid using tiny 00 - 02 watercolor brushes, and i like it better than the results i get using Dr. Ph Martin's India Ink. But for me the easiest way to "paint" or apply color onto the film, depending on what kind of an effect you're looking for, is to use markers. Sharpies give you ultra bold colors, some of them a bit too opaque, but some are delightfully sheer, such as the yellow and lime green. My all-time favorite film coloring tools are Photo Spotpens (hard to find, but worth it - these are designed for photo retouching and work very well on the emulsion to create a subtle hand-tinted effect), and Prismacolor Markers, which come in 64 colors. You can get them with double-tips: one fine point and one broad. This is by far what I use most - the colors are translucent and the ink dries within minutes. It's best to wait at least 4-5 hours before spooling the film onto reels after using any type of ink on it to allow for thorough drying, better if you can leave it overnight. Make sure you inform the Lab that you have used this type of ink on your film if ever you send it off to make prints from it. Hope this helps.
enjoy today...
Dinorah de Jesús Rodríguez
Multimedia Artist
www.solislandmediaworks.com
www.artcinematic.blogspot.com
http://cinesthesia.blip.tv
ELUSIVE LANDSCAPE
http://elusivelandscape.blogspot.com
On Jul 5, 2010, at 5:56 AM, anja ross wrote:
> Hi Framewok Participiants,
> I have an 16 mmm film let developed and the result was disgusting. Now I want to paint on the film. Might it possible to tell me which ink is the best for this?
>
> All the best, but I would like to mention: I am not good for talks about films.
> I am not a filmhistorians at all.
>
> A good day, Anja
>
>
> PS: Kubelkas films I watched at the HBK, Braunschweig, Filmklasse, but now I am in Berlin!
>
> 2010/7/5 Evan Meaney <email suppressed>
> Hi Björn:
>
> It's funny, I'm actually teaching a class about codes and sequences in cinema in the fall, stateside - Kubelka's AR is an important part of the syllabus. I haven't found a ton of work about the specific code at work in AR but I was lucky enough to see him speak a few years ago about it. He said that he was interested in having the exact same amount of light and dark hit the screen over the duration of the piece. The presence and absence of information equalizing one another. Ditto for the sound, where the noise ( I forget it if it's just white noise or something more particular at the moment) contrasts directly with the silence.
>
> I would love, love, love to see that rock
> and find out that exact equation.
> If someone out there has it, do let us know.
>
> All the best,
>
> Evan
>
> On Jul 4, 2010, at 6:13 PM, Lundgren wrote:
>
>> I remeber reading about Peter Kubelka saying something about that Arnulf
>> Rainer was the only eternal film, that he would write down the
>> concept/code/script/equation/whatever on a rock and then when all other
>> works of cinema had faded away (by technical death or whatever) his could
>> allways be recreated perfectly in its intended form.
>>
>> Anyway, what I was interested in was that form. Does anyone know if he ever
>> spoke of the "code" or has anyone with access to a film copy been able to
>> determine it?
>>
>> A secondary question is also this: What is the technical form of the
>> "soundtrack"?
>>
>> ______________
>> Björn Lundgren
>> Sweden
>>
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