[Frameworks] B & W on colour stock

[Daniela Curro']

Hi Shumona,

Getting b/w images on color stock is definitely possible. Usually you
need to have quite "unbalanced" R G B values in order to obtain this
result and after the answer print you need one/more correction prints.
You might need slightly different color corrections for shots that
vary in densities/contrast. B/w images on color stock will never be
totally neutral as if they were printed on b/w stock, but you can get
pretty good results, and often only the trained eyes of a grader would
spot the difference. Good luck with your print!

Best,
Daniela Currò


On Mon, Nov 28, 2011 at 11:23 AM, Shumona Goel <shumonagoel at gmail.com> wrote:
> Dear Friends,
>
> I am trying to print a 16mm black and white film onto colour stock because
> there is no black and white print stock available in India, nor is there a
> lab that would process it.  I recently did a test that had a strong magenta
> tint.
>
> Is it even possible to get a black and white image?  I am beginning to
> wonder whether HD projection may just be the only route.
>
>
>
> Thanks in advance for any advice.
>
> Warmly,
> Shumona
>
>
>
> On Wed, Nov 23, 2011 at 2:00 AM, tammy kinsey <tammy.kinsey at gmail.com>
> wrote:
>>
>> ----- Sent from my Virgin Mobile.
>>
>>
>>
>> ---------- Forwarded message ----------
>> From: frameworks-request at jonasmekasfilms.com
>> To: frameworks at jonasmekasfilms.com
>> Date: Mon, 21 Nov 2011 12:00:45 -0600
>> Subject: FrameWorks Digest, Vol 18, Issue 28
>> Send FrameWorks mailing list submissions to
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>> When replying, please edit your Subject line so it is more specific
>> than "Re: Contents of FrameWorks digest..."
>>
>>
>> Today's Topics:
>>
>>   1. Re: Travelogues (ev petrol)
>>   2. CFP/Films ASIAN CINEMA STUDIES SOCIETY CONFERENCE (Gina Marchetti)
>>   3. Re: Value systems (Jonathan Thomas)
>>   4. Artprojx Cinema: Art Video, Art Basel Miami Beach,        Nov 30 -
>>      Dec 4 2011 - invite (David Gryn)
>>   5. Re: Value systems (Gawthrop, Rob)
>>
>>
>> ----------------------------------------------------------------------
>>
>> Message: 1
>> Date: Sun, 20 Nov 2011 17:31:47 -0800 (PST)
>> From: ev petrol <epetrol2 at yahoo.com>
>> Subject: Re: [Frameworks] Travelogues
>> To: Experimental Film Discussion List <frameworks at jonasmekasfilms.com>
>> Message-ID:
>>        <1321839107.7669.YahooMailNeo at web160306.mail.bf1.yahoo.com>
>> Content-Type: text/plain; charset="iso-8859-1"
>>
>> Hello Adam
>> this one was shot from the balcony & roof of the hotel i was staying in (i
>> was in nouakchott for a week); edit approved by the local film-makers though
>> (wanted to make sure i wasn't misrepresenting ...)
>> http://www.moiratierney.net/nouakchott.htm (very basic info)
>> what are you compiling the films for?
>> cheers Moira
>>
>> www.moiratierney.net
>> www.soluscollective.org
>>
>>
>> ________________________________
>>  From: Adam R. Levine <adamrl at gmail.com>
>> To: Experimental Film Discussion List <FrameWorks at jonasmekasfilms.com>
>> Sent: Thursday, November 10, 2011 12:41 PM
>> Subject: [Frameworks] Travelogues
>>
>>
>> Hello you,
>>
>> I am trying to pull together a list of experimental films that either fall
>> directly under the category of "travelogue" or bear witness to travel and
>> distance from a point of origin on the part of the filmmaker. These would
>> not be so much ethnographic works which are part of a sustained cultural
>> exchange, but films made as a result of the filmmaker "passing through" and
>> acknowledging the looming spectre/problem/pleasure of "the tourist film".
>> Warren Sonbert, perhaps John Smith's "The Hotel Diaries"? I'm sure there are
>> others...but can you name them?
>>
>> Thanks/Grazie/Kiitos!
>>
>> ARL
>> _______________________________________________
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>> ------------------------------
>>
>> Message: 2
>> Date: Mon, 21 Nov 2011 18:30:55 +0800
>> From: Gina Marchetti <gina.marchetti at gmail.com>
>> Subject: [Frameworks] CFP/Films ASIAN CINEMA STUDIES SOCIETY
>>        CONFERENCE
>> To: Experimental Film Discussion List <frameworks at jonasmekasfilms.com>
>> Message-ID:
>>
>>  <CAE1Gd0VPHV=AheFv-L4GuRF8LZW6+KiZmPsHQ8DxB_0h3Crx1w at mail.gmail.com>
>> Content-Type: text/plain; charset="iso-8859-1"
>>
>>  *ASIAN CINEMA STUDIES SOCIETY CONFERENCE *
>>
>> *MARCH 18-20, 2012*
>>
>> *THE UNIVERSITY OF HONG KONG*
>>
>>
>>
>> This meeting of the Asian Cinema Studies Society welcomes paper, poster,
>> workshop and panel proposals covering all aspects of Asian film and media.
>>
>>
>>
>> Please send proposals of 200-300 words as RTF or WORD attachments to Dr.
>> Natalie Wong at nslw at hku.hk.   For all proposals, be certain to include
>> the
>> title, author(s) name(s), institutional affiliation, mailing address, and
>> email contacts, as well as a brief biography of each contributor.  For
>> panel, workshop, and group submissions, be certain to provide a brief
>> description (100 words) of the contribution of each participant.  Sessions
>> will be 1 ½ hours in duration, and time limits will be strictly enforced.
>>
>>
>>
>> *CALL FOR PAPERS DEADLINE: December 31, 2011*
>>
>>
>>
>> Notifications of acceptance will be sent out by the end of January 2012.
>>
>>
>>
>> We regret that we cannot offer any funds for travel or accommodation.
>>  However,
>> there will be NO registration fee for those presenting papers, serving as
>> panel chairs, or participating in workshops, poster sessions, or in any
>> other official capacity.   Registered guests are welcome to attend as
>> well;
>> however, some conference events/meals may only be available for those
>> presenting papers or serving in other official capacities.
>>
>>
>>
>> Program committee members:  John A. Lent (Chair of ACSS), Tan See-Kam
>> (Macau), Natalie Wong (HKU), Staci Ford (HKU), Mirana Szeto (HKU), Winnie
>> Yee (HKU), Ang Sze-wei (HKU), Gina Marchetti (HKU).
>>
>>
>>
>>
>>
>> Proposal submissions & inquiries: Dr. Natalie Wong at nslw at hku.hk
>>
>>
>>
>> Visit our website at http://www.hku.hk/complit/acssc/
>>
>>
>>
>>
>>
>> *About the Asian Cinema Studies Society (ACSS):*
>>
>> Inaugurated in 1984, ACSS has been dedicated to fostering research in
>> Asian
>> film and related media.  It publishes *Asian Cinema* twice yearly, and
>> features all types of Asian film, including full-length movies,
>> documentaries, animation, and experimental.  Nine ACSS conferences have
>> been held since 1988, including five in the United States and one each in
>> Australia, Canada, South Korea and China. Many of the papers presented at
>> ACSS conferences have been published in Asian Cinema and other journals
>> and
>> books.
>>
>>
>>
>> For more information on ACSS and for membership details, visit its website
>> at http://astro.temple.edu/~jlent/asiancinema/acss.html
>>
>>
>>
>> *About the Centre for the Study of Globalization and Culture:*
>>
>> The Center for the Study of Globalization and Cultures (CSGC), set up in
>> 1999, is an interdisciplinary center based in the Department of
>> Comparative
>> Literature. The focus of its work is on issues of culture and
>> globalization
>> with special reference to Asia, China and Hong Kong. Major research themes
>> include: the cultures of capitalism; global flows of culture, media and
>> technology; cities and globalization; new communities, publics, and
>> identities; and post-colonialism and neo-liberalism.
>>
>>
>>
>> For more information on CSGC, visit its website at
>> http://www0.hku.hk/complit/csgc/
>> -------------- next part --------------
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>> ------------------------------
>>
>> Message: 3
>> Date: Mon, 21 Nov 2011 15:14:15 +0000 (GMT)
>> From: Jonathan Thomas <cinemametafisica at yahoo.co.uk>
>> Subject: Re: [Frameworks] Value systems
>> To: Experimental Film Discussion List <frameworks at jonasmekasfilms.com>
>> Message-ID:
>>        <1321888455.58527.YahooMailClassic at web29207.mail.ird.yahoo.com>
>> Content-Type: text/plain; charset="iso-8859-1"
>>
>> I don't see value as a dated concept, although commodity value is
>> irrelevant. For me, a work has value when it provokes thought, when it
>> creates a space to contemplate / meditate on (in the Heideggerian sense) the
>> world (as experienced, mediated, related, etc.). Although personally I find
>> formalist, materialist work very appealing, this is contained within an idea
>> of art as thinking tool over art as object.I do agree, like most people
>> probably, that large galleries and museums do play safe, but haven't they
>> always? I always aim for artist-run spaces that engender a much more widely
>> critical and contextual discourse. 20th century theories of art are not yet
>> dated and irrelevant, to me at least. There was a lot of it, and we are
>> still wading through it all, trying to untangle it and assess its relevance.
>> There has to remain a strand of early 21st century art and theory that
>> constitutes a critical pause for breath.
>>
>> --- On Sun, 20/11/11, Bernard Roddy <roddybp at yahoo.com> wrote:
>>
>> From: Bernard Roddy <roddybp at yahoo.com>
>> Subject: [Frameworks] Value systems
>> To: "frameworks at jonasmekasfilms.com" <frameworks at jonasmekasfilms.com>
>> Date: Sunday, 20 November, 2011, 14:06
>>
>>
>> Value as a reference today strikes me as dated.  It draws on a period when
>> art as commodity was an interesting question.
>> Restrictions on freedom of expression are back.  It's time to examine the
>> renewal of conservativism in media art.
>> To propose a term for critical study: professional responsibility.  Not
>> the debate between modernist and post-modernist experimental film.  Not the
>> relevance of "avant-garde."
>>
>> Performance art's history is really to the point.  We see a transformation
>> of performance art's provocations into not only gallery-safe work but a kind
>> of artistic administrator's ideal.
>> Apologies for the obscurity.
>> Bernie
>> -----Inline Attachment Follows-----
>>
>> _______________________________________________
>> FrameWorks mailing list
>> FrameWorks at jonasmekasfilms.com
>> https://mailman-mail5.webfaction.com/listinfo/frameworks
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>> ------------------------------
>>
>> Message: 4
>> Date: Mon, 21 Nov 2011 15:50:58 -0000
>> From: "David Gryn" <david at artprojx.com>
>> Subject: [Frameworks] Artprojx Cinema: Art Video, Art Basel Miami
>>        Beach,  Nov 30 - Dec 4 2011 - invite
>> To: "Experimental Film Discussion List"
>>        <frameworks at jonasmekasfilms.com>
>> Message-ID: <98FBC8DE21854418A275F8375C83CBBE at userPC>
>> Content-Type: text/plain; charset="iso-8859-1"
>>
>> Dear Frameworkers - if anyone is in Miami - you are welcome to join us -
>> these Art Video screenings are Free to all. Best wishes David
>>
>>
>>
>> Artprojx Cinema: Art Video, Art Basel Miami Beach, Nov 30 - Dec 4 2011.
>> David Gryn director of London's Artprojx has organised and curated Art
>> Video, featuring film and video works by today's most exciting international
>> artists, submitted by the galleries of Art Basel Miami Beach. Specially
>> organized and commissioned, for the 10th Edition of the Fair, Art Video will
>> be screened for the first time in the SoundScape Park, on the
>> 7,000-square-foot outdoor projection wall of the Frank Gehry designed New
>> World Center, as well as within five viewing pods inside the Miami Beach
>> Convention Center. Artists selected include: Cory Arcangel, Yael Bartana,
>> Pierre Bismuth, Slater Bradley, Brice Dellsperger, Tracey Emin, Kota Ezawa,
>> Dara Friedman, Theaster Gates, Katy Grannan, Neil Hamon, Alex Hubbard,
>> Christian Jankowski, Cristina Lucas, Ryan McGinley, Marilyn Minter, Laurel
>> Nakadate, Rashaad Newsome, Hans Op de Beeck, Martha Rosler, Matt Saunders,
>> Lorna Simpson, Penny Siopis, Clemens von Wedemeyer. See the full programme
>> at http://www.artbaselmiamibeach.com
>>
>>
>> --
>>
>> David Gryn / Artprojx
>> artprojx at gmail.com
>> http://www.artprojx.com
>> http://davidgryn.wordpress.com
>> +447711127848
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>> ------------------------------
>>
>> Message: 5
>> Date: Mon, 21 Nov 2011 17:28:22 +0000
>> From: "Gawthrop, Rob" <Rob.Gawthrop at falmouth.ac.uk>
>> Subject: Re: [Frameworks] Value systems
>> To: Bernard Roddy <roddybp at yahoo.com>, Experimental Film Discussion
>>        List    <frameworks at jonasmekasfilms.com>
>> Message-ID: <CAF03AB5.E3ED%rob.gawthrop at falmouth.ac.uk>
>> Content-Type: text/plain; charset="windows-1252"
>>
>> The point I was making in my question followed on from Fred’s posting that
>> included:
>>
>> It seems to be entirely acceptable and unquestioned on this list to post
>> that some or all forms of video projection look like crap ... As a format
>> for presenting film, it is, of course, imperfect, as I myself argued almost
>> three decades ago, though that was in the days of VHS, a lot worse than more
>> recent formats.
>>
>> Assumptions about ‘quality’ need to be challenged.  Issues around
>> ‘quality’ are based upon value systems which in themselves operate
>> ideologically.  Can the politics be seperated from the aesthetics?  This
>> seems entirely relevent as we watch evictions of the Occupations - and that
>> doesn’t mean I’m advocating literalism - just putting my original question
>> into context.
>>
>> Rob
>>
>>
>> On 20/11/2011 16:47, "Bernard Roddy" <roddybp at yahoo.com> wrote:
>>
>> Oh and . . this encounter with a provocative work tends to draw ALL
>>  attention to it AS  provocation, to the detriment of the work.  That's the
>> real price of a restrictive environment.  It' s not just a price paid in
>> terms of the interest new work generates.  It's certainly not just a
>> question of having some kind of political "impact."  The greatest price is
>> that of interpretation.  You get really dumb fixations on work if there
>> isn't a serious investigation of what gets passed off as "provocation."
>>
>> Bernie
>>
>>
>>
>>
>> ________________________________
>>  From: Bernard Roddy <roddybp at yahoo.com>
>>  To: "frameworks at jonasmekasfilms.com" <frameworks at jonasmekasfilms.com>
>>  Sent: Sunday, November 20, 2011 8:06 AM
>>  Subject: [Frameworks] Value systems
>>
>>
>> Value as a reference today strikes me as dated.  It draws on a period when
>> art as commodity was an interesting question.
>>
>> Restrictions on freedom of expression are back.  It's time to examine the
>> renewal of conservativism in media art.
>>
>> To propose a term for critical study: professional responsibility.  Not
>> the debate between modernist and post-modernist experimental film.  Not the
>> relevance of "avant-garde."
>>
>> Performance art's history is really to the point.  We see a transformation
>> of performance art's provocations into not only gallery-safe work but a kind
>> of artistic administrator's ideal.
>>
>> Apologies for the obscurity.
>>
>> Bernie
>>
>> _______________________________________________
>> FrameWorks mailing list
>> FrameWorks at jonasmekasfilms.com
>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>>
>>
>>
>>
>>
>>
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>>
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