Heres some tests done using a high speed casio video camera aimed at the screen whilst projecting some 35mm. The Kinoton used has a 180 degree blade so we need to get the data about how many ‘pulses’ per frame you get with this blade config. What we will see is a pulsing of image and black. Once we know …
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Here is something that is really deepening itself into my thinking at the moment. I’m putting it up here because its a good way of making thinking visible in a documented and engagable way. Two words. Miniature Shields. This shield is over 2000 years old. From the picture you can see that it is only 100mm long. Is this in …
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The purpose of these experiments is to regard the intrinsic opto-mechanical mode of presentation of motion picture film as if it was important to the overall ontological nature of ‘cinema’ which would include really the camera (also opto-mechnical) and various laboratory devices which affect the film in between. Regarding them as important enough to simulate their ‘effect’ as we transition …
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FLICKER WARNING. THE CLIPS BELOW ARE STROBOSCOPIC AND FLICKER AT RATES THAT MAY DISTURB THOSE WHO SUFFER FROM PHOTOSENSITIVE EPILEPSY. When we view a digital version of a work of early cinema our experience is notably different from when it would have been (could be) seen opto-mechanically. Of course digital viewing systems, whether DVD and CRT screen, Blu-Ray and …
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Can anyone identify this film? Just a few frame scans for some short lengths of nitrate film that were found at the Curzon Cinema in Clevedon. I’ll be doing all the rest of this clip and more over the coming months. I can’t hope to get accurate colour reproduction and these grabs are the best jpgs that the camera can …
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I am slightly obsessed with Vista Vision (above) and Techniscope. The former of course ran horizontally and took up 8 perforations. ILM revisited the format for Star Wars to enable a larger, non-animorphic negative to pull off their effects. But Techniscope goes the other way. Developed by the Technicolour Labs in Rome, Italy, it takes up 2 perforations. The effect …
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From now on all my production projects for the Archive Film Series will be made using this camera, the oxberry and small developing tanks. The specification on this Fries/Mitchell 35R camera is unbelievable. The remote controller in the picture lets you program so many ways. It can shoot 1 – 120 FPS (all at crystal locked speeds), it can shoot …
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Good results from tests with oxberry, single image in gate, 35>35, halogen lamp. etc Did loads of Lux measurements in gate but there’s no real guide to EV levels that are required and also the shutter speeds are not really calibrated, or even known. Also the image is sharp closed down (as you would expect) BUT super soft, un focused …
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I’ll be doing these studio tours during the Cinema Rediscovered Film Festival in late July at watershed (mainly). They are tours designed to verbalise what I am doing on several levels. In this regard they are also performances and presentations about ideas, processes, thinking and working collaboratively. There is an assumed ‘intrigue’ or ‘fascination’ with machines that often forms …
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The idea of the ‘camera in the archive‘ is the idea of having the means of making/producing/devising/creating archival objects (film prints) within/through the structure or framework of their organisational principle which in this case is an archive. This could differ from an artist who makes works on film and simply collects them together because what is implicit here is their …
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