[Frameworks] Random Questions

Thu Mar 24 12:13:09 CDT 2011

Tom Comerford made a bunch of short films using a pin hole camera
http://www.thomascomerford.net/film.html   You could probably contact him
through his site and ask him directly about building one.

As for the frame rate shooting on a bolex, are you making the telecines
yourself? Otherwise I bet they're adjusting for the dark, but upping the
brightness and vice versa, because yeah if you change to a faster frame rate
the film is not going to be in the gate long enough to get a proper exposure
and will be dark, and if slower like 8fps, the frame will linger too long to
get blasted by light and result in being over-exposed.

On Thu, Mar 24, 2011 at 10:00 AM, <frameworks-request at jonasmekasfilms.com>wrote:

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> Today's Topics:
>
>   1. Random questions (Mason Shefa (PC))
>   2. Re: Sorrow (David Van Taylor)
>   3. Re: Time lapse at the town hall in Birmingham (Kevin Timmins)
>   4. Re: Time lapse at the town hall in Birmingham (Kevin Timmins)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Wed, 23 Mar 2011 22:41:26 -0700
> From: "Mason Shefa \(PC\)" <keyfilmation at earthlink.net>
> Subject: [Frameworks] Random questions
> To: "'Experimental Film Discussion List'"
>        <frameworks at jonasmekasfilms.com>
> Message-ID: <0A9234A535E341A39D4B5B45C97122DC at mshefanb>
> Content-Type: text/plain; charset="us-ascii"
>
> Hi Frameworks, I have two random questions. If anyone can answer either
> question, that would be appreciated!
>
>
>
> 1.      Has anyone used/built/seen a 16mm pinhole camera? I'd like to see
> what kind of images would be produced from such a thing. How was it made?
> 2.      If I am shooting 24 fps on a bolex, and then change the frame rate
> to 64 fps, and if I do not change any shutter settings or re-meter the
> light, would the picture darken, lighten, or stay the same? I've noticed on
> my telecined tests that if I increase the framerate, the images brighten
> (which is the opposite of what I thought would happen).
>
>
>
> Thanks!
>
>
>
> Mason
>
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> ------------------------------
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> Message: 2
> Date: Wed, 23 Mar 2011 22:25:36 -0400
> From: David Van Taylor <dvt at lumiereproductions.com>
> Subject: Re: [Frameworks] Sorrow
> To: "Betsy A. McLane" <clumb3 at yahoo.com>
> Cc: FrameWorks at jonasmekasfilms.com, Allan Barbar <allanbar at temple.edu>
> Message-ID:
>        <85535A84-66D5-4E56-9E16-42CB5D7FEF5C at lumiereproductions.com>
> Content-Type: text/plain; charset="windows-1252"
>
> Betsy,
>
> Thanks for this.
>
> When I heard this afternoon, we posted a clip from our epic TO TELL THE
> TRUTH interview with Ricky?in fact one where he talks about what he learned
> from Flaherty.  It's on our Facebook page:
> http://www.facebook.com/pages/To-Tell-The-Truth/149115078465126
>
> Yours in grief and remembrance.
>
> David
> --------
> David Van Taylor
> Lumiere Productions, Inc.
> www.LumiereProductions.com
> DVT at LumiereProductions.com
> 212/807-0796
>
> On Mar 23, 2011, at 7:29 PM, Betsy A. McLane wrote:
>
> >
> >
> > Ricky Leacock died this morning in Paris . He was friend, teacher,
> comrade-in-arms, perpetual subversive and filmmaker extraordinaire. He
> changed the history of world cinema. And we loved him very much. -- Joel
> DeMott & Jeff Kreines
> >
> > No one will ever replace Ricky .  Our remaining link to Flaherty is gone.
>  I will love him and honor his work and continue to argue with him forever.
> > Betsy
> >
> >
> > Betsy A. McLane , Ph.D.
> > Project Director, American Documentary Showcase
> > betsymclane at documentarydiva.com
> > americandocs at gmail.com
> >
> > From: Bart Weiss [mailto:bart at videofest.org]
> > Sent: Wednesday, March 23, 2011 3:16 PM
> > To: Betsy McLane
> > Subject: Fwd: [Frameworks] Sorrow
> >
> >
> >
> >
> >
> > From: Jeff Kreines <jeffkreines at mindspring.com>
> > To: Experimental Film Discussion List <frameworks at jonasmekasfilms.com>
> > Subject: Re: [Frameworks] Sorrow
> > Date: March 23, 2011
> >
> >
> >
> > _______________________________________________
> > FrameWorks mailing list
> > FrameWorks at jonasmekasfilms.com
> > http://mailman-mail5.webfaction.com/listinfo/frameworks
> >
> > <image001.jpg>
> >
>
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> Message: 3
> Date: Thu, 24 Mar 2011 09:56:52 +0000
> From: Kevin Timmins <on-one-2 at hotmail.com>
> Subject: Re: [Frameworks] Time lapse at the town hall in Birmingham
> To: <frameworks at jonasmekasfilms.com>
> Message-ID: <SNT127-W35B70752458FA6D46DF98398B60 at phx.gbl>
> Content-Type: text/plain; charset="iso-8859-1"
>
>
> The Auto B function: the filming speed is controlled in accordance with the
> amount of light available. The more light there is the quicker the frames
> move past the gate, the less light there is the slower etc... However you
> cannot set the frame rate to a specific amount of fps with this function,
> it's not a fixed time lapse. Nizo's are excellent don't get me wrong I love
> my 561, but all the times I've tried using them indoors the resulting images
> are a bit pants. Outdoors they are brilliant however!
> I'm going to take both cameras, use them simultaneously and try and pick up
> some 500T for the canon today to be on the safe side.
> I just want to thank everyone for the help! Wish me luck!
> Kev
> Date: Wed, 23 Mar 2011 20:51:06 -0700
> From: jawoods01 at yahoo.ca
> To: frameworks at jonasmekasfilms.com
> Subject: Re: [Frameworks] Time lapse at the town hall in Birmingham
>
>
>
> I've never heard anyone use the word rubbish with a Nizo camera before.
> Since the 514 xls does not have an intravalometer you're much better off
> using the Nizo. I've never used the Auto B fuction but I'm not sure why it
> would just rush the film through if you have it on a timelapse setting? You
> could just switch between settings when the lights go down if you're
> worried. Try some tests with no film in the camera.
>
> The few Vision3 cartridges that I've shot were notched so that you could
> use your internal 85 filter, something the previous cartridges needed a
> notch hack for. You can just look at the cartridge and inspect to be sure
> but since it sounds like you're shooting indoors with tungsten light you
>  probbably don't need a filter and most likely couldn't afford the speed
> loss of using a filter.
>
> John
>
>
>
> From: Kevin Timmins <on-one-2 at hotmail.com>
> To: frameworks at jonasmekasfilms.com
> Sent: Wed, March 23, 2011 11:05:40 AM
> Subject: Re: [Frameworks] Time lapse at the town hall in Birmingham
>
>
>
>
>
> Unfortunately the lighting conditions in the auditorium will fluctuate
> quite a bit. The lights will be one whilst folks are coming in, off whilst
> folks are watching the film and then back on whilst they leave. I want to
> capture them coming in and going out... So I don't think the EE lock is an
> option sadly?
> I'm using vision 3 200T stock.... anyone know if I have to change the notch
> in the cartridge?
> I also have a Nizo 561 macro which I considered using with wide open
> shutter and auto B function. However while the lights are on I'm worried the
> film will just rush through the camera. I hear nizo's are a bit rubbish at
> filming indoors as well. Any suggestions?
> Thanks
> Kev
> > Date: Wed, 23 Mar 2011 18:31:16 +0100
> > To: frameworks at jonasmekasfilms.com
> > From: frameworks at re-voir.com
> > Subject: Re: [Frameworks] Time lapse at the town hall in
>  Birmingham
> >
> > Kevin,
> >
> > depending on what film stock you are shooting, you could take a light
> > reading and tape the EE lock up at the right aperture.
> >
> > Each 50ft cartridge has 3500 frames. If you want 7000 frames to
> > represent 150 minutes, you have to click every 1.3 seconds. (9000
> > seconds divided by 7000 frames).
> >
> > -Pip
> >
> >
> >
> > At 12:27 +0000 23/03/11, Kevin Timmins wrote:
> > >I'm doing a time lapse at Birmingham town hall of the crowd watching
> > >Buster Keaton films tomorrow evening. I am shooting the time lapse
> > >on my super 8 Canon 514XL-S with the single frame function with
> > >kodak vision 3.
> > >
> > >I have a few questions:
> > >
> > >Will I need to hack/alter the notch on the cartridge so as the
> > >camera exposes the film correctly?
> > >
> >
>  >Secondly the event will be shot over a two and a half hour period.
> > >Any suggestions on how often I should hit the single frame function?
> > >I have two 50ft cartridges, so 6 minutes worth of film to cover the
> > >event.
> > _______________________________________________
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> > FrameWorks at jonasmekasfilms.com
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>
>
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> Message: 4
> Date: Thu, 24 Mar 2011 10:12:46 +0000
> From: Kevin Timmins <on-one-2 at hotmail.com>
> Subject: Re: [Frameworks] Time lapse at the town hall in Birmingham
> To: <frameworks at jonasmekasfilms.com>
> Message-ID: <SNT127-W20D07FD15ABEA1A7FC870298B60 at phx.gbl>
> Content-Type: text/plain; charset="iso-8859-1"
>
>
> brilliantly helpful ken, thanks so much!
> Kev
>
> From: kenpaulrosenthal at hotmail.com
> To: frameworks at jonasmekasfilms.com
> Date: Wed, 23 Mar 2011 17:17:46 -0700
> Subject: [Frameworks] Time lapse at the town hall in Birmingham
>
>
>
>
>
>
>
>
> I've shot a lot of Kodak Vision neg stocks with the Canon 1014XLS, and it
> should already be notched to go, 'natch. I used the in-camera meter, and I
> believe the stock has something like a 6 stop latitude (3 either way) so you
> should be good to go.  But if you wish to be super precise, be sure to set
> the shutter angle on your hand-held meter to reflect that of the 1014XLS.
> Don't recall what is off the top of my head, but it's listed in either the
> front or back of the manual. Remember, there is a button with a little
> window icon that let's you open or close down the shutter angle a bit so you
> will have to choose the proper angle to plug into your meter accordingly.
> Lastly, when shooting time-lapse, I suggest making a conscious choice
> between keeping the camera on auto or manual aperture. The former means the
> aperture will automatically shift the f-stop to account for the relative
> amount of light entering the lens the moment before the camera shoots a
> frame. For the latter, you may wish to choose a mid-range f-stop that will
> neither result in the shot being too dark or light at a given point,
> depending on how the light changes. Remember: the light is always changing,
> often imperceptibly to the human eye, but not the camera eye. Then again,
> some of us are hyper-conscious of every minute change. I've found that doing
> time-lapse is a great way to cultivate a critical eye for light.
> So scout the location first to see what the arc or trajectory of light is
> over the course time you anticipate shooting, and choose your f-stop
> accordingly--for manual. If auto, then just let it fly. One thing I always
> liked about doing time-lapse on manual aperture is that the light shifts are
> more dramatic. But then I was privileging the shifting of light as the
> subject, rather than documenting other activities in a given space.
> Good luck! Ken
> www.crookedbeautythefilm.com  (Academic)www.crookedbeauty.com  (Public)
> www.kenpaulrosenthal.com
>
>
>
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