Week 2 Prep: 16mm Film Magazine Transfer

This week, we will be tearing up bits of magazines, newspapers, phonebooks etc. and sticking these bits onto clear packaging tape.

Then, we will cut the packaging tape into strips, dunk the strips into buckets of warm to hot water, leave the strips immersed for about 3-5 minutes and then rub the magazine pulp off the tape.

Only the ink remains on the tape. Then, just slap the strips of tape onto 16mm clear leader film (avoid the sprocket holes) and project.

See an EXAMPLE of what we collectively made in last semester's class.

Week1: welcometosixbyone fall07

Hi Fall Sixbyoners (and any curious observers)

Our first assignment involves painting, scratching, bleaching etc. 16mm film (i.e. film manipulation). I've included, below, an image of film sizes. It's good to think about these differences as we explore the idea of film manipulation. For example, if I make a mark with a sharpie on a 35mm frame and another mark with the same sharpie (same thickness) on an 8mm frame, the mark on the 8mm frame will take up a larger percentage of the frame and thus be projected as much thicker than the mark that is projected on the 35mm strip.

Needless to say, our choice of film stock size affects style and the amount of control we have over the frame. There's no ideal stock size. It just depends what you're going for.

thassit!

Well, the semester has come to a close. We've made a lot of 1-minute films - 43 films to be exact. That's a lot of films produced by 15 students in four months. It's been an experience. Below is the class project (assignment #3), "Sport and Light," which will play on a much larger screen at the UNCW Film Studies Spring Semester student screening on May 5.



Watch the Video

One-Minute One-Shots

Below are the 4 one-shots created by the Spring07 6X1 class.

By one-shot, we mean that the film is composed of only one shot with not even in-camera editing. The film begins when the camera starts rolling and ends when the camera stops rolling.









For this assignment, students used 16mm Bolex cameras and some hi-contrast film. The Bolex cameras are hand-wound, rather than battery powered and each wind has roughly 28 seconds. Since this class is all about making one-minute films and this assignment was all about a one-minute take, we had to cheat a little.

We slowed the frame rate of the Bolex to half the normal frame rate. This meant that when projected, the film would play twice the normal speed but it also meant that we could shoot for a full minute because the camera wind was running at half the speed.

Then, we processed the hi-con film using a red safelight. f4 and f5.6 seemed to yeild the best results for the sunny mid-afternoon light with which we had to work.

Then, the film was transferred to video. As I mentioned, the film ran twice as fast in the projector, so we had to slow it down to half the speed in Final Cut Pro. Also, since the film was processed as a negative, we also had to invert (or change to a positive) the video transfer.

Enjoy!

One-Minute SuperDuper8 Animations

Below are all of the four group animations for the Spring 6X1 class. These were filmed using Super 8 cameras and Ektachrome film and the project utilized a multiplane animation technique.

For the multiplane setup, an 18X24 inch glass panel was propped up by two apple boxes so that the ground below the pane was visible through the glass. The ground level served as a background and was often decorated by a backdrop. This first pane was a mid-stage of sorts. Then a second glass panel was propped up about 8 inches above the first panel. This top panel served as a front stage. Finally, the scene was decorated with props, lit and a Super 8 camera hovered about 4 feet above the glass panel.

To see some pictures of the actual class shoot visit the post on the animation shoot

But don't forget to also check out the mini-epic animations, right here!

Extremely Short Festivals for Extremely Short Filmz

So, soon you will have left this class having completed six one-minute projects. Six fun, challenging and I'm sure at times frustrating projects.

So now what?

Well, of course you have a few films to add to your reel . . . AND you can also choose to enter these films into festivals.

Right now, Drucilla (Dru), our Chiweenie (Chihuahua/Dachshund) dog is curled up in my lap. She's got a tiny dog collar for her tiny dog body and a tiny leash, some tiny dog toys and so on. There's a whole market for tiny dogs out there that caters to providing things for these wee creatures.



Likewise, there is a film festival market out there for your tiny films (epic in content as they may be). There are festivals such as the Aurora Picture Show Extremely Short Shorts for any film 3 minutes or under (postmark deadline May 1).

Stay tuned to the Sixty-Second Film Festival which is currently joking that it will "be back in a minute."

There are also festivals that cater to films that originated on film (you will have four of these film films by the end of the semester).



For example, there are several Flicker film screenings aroud the world. These screenings are more informal than your average festival screening though no less fun. The only rules are that your film be under 15 minutes and that it originate on film (though it can be, and in many cases is, shown on video) A great place to start your Flicker curcuit tour is with the founding Flicker in Chapel Hill. The next screening is May 7. There is NO ENTRY FEE for entering the Flicker screenings.

In general, one-minute films are great for festivals. Though they may not serve as the meat and potatoes of any shorts festival (outside of the extremely short shorts category), they are easy for festivals to program because of their length and are nice bursts of fresh air.

Collage and Found Footage within a Cultural Context

How many letters in the alphabet can you link to a brand?

Earlier in the semester, I posted the Humument project as an example of a collage work. Though Tom Phillips was working in book form, you might easily draw a parallel between what he did and what you as a collage film/videomaker might do when you arrange nuggets of media together to create a new meaning.

Below is a talking point that does not necessarily express absolute truth but will be a jumping off point for class discussion:

Both the Lethem and the the Garnett and Meiselas articles have argued, in one way or another, that painters, filmmakers, musicians, photographers etc. do not live in a void and are not only directly influenced but quite often borrow from other artists' work.

Though this has been going on for centuries, it can easily be argued that this is especially the case in the 21st Century, where we are indundated with the omni-presence of media. Brands, TV shows, movies, advertisements, and so on make up our cultural landscape. It is not as simple as chosing to either embrace or opt out of this cultural landscape. We can not decide to turn our backs on the media culture - unless we choose to live in total seclusion. As we walk down the street, advertisements becon us from buses, bilboards, the bumpers of cars, TVs in restaurants and so on.

As filmmakers, we can not help but be influenced by this steady stream of media and create work that, intentionally or not, borrows from artists who create this media and who themselves have, no doubt, been influenced by the media stream as well. So how does this effect our views of plagerism?

Looking toward the One-Shot Assignment

16mm hi-con print stock (kodak 7363) was shot on a Bolex (undercranked at 12fps). The film was then processed as a negative using Dektol developer. The negative image was projected and captured on video. In this video, you can see the original image side by side with the positive image (inverted through a filter applied in Final Cut Pro to produce a positive). Above the two images are f-stop #s which correspond to the exposure.

For the next assignment, a group of 4 will have a sufficient amount of 16mm hi-con stock (good ol' 7363) to shoot a single take long (duration) shot. We'll be learning the basics of using a Bolex 16mm camera and returning to a little bit of hand-processing. I know those windows in the above video are small so you'll have to use your imagination, a little, to see a parking lot and cars whizzing by on a busy road in the distance. Notice that as the screen gets lighter in the left video widow (negative) it gets darker in the right window (the positive).

One other detail. Bolexes are hand-wound, not eletrically powered, cameras. In other words, you wind the camera and start shooting. Each wind gives 28 seconds of roll time. But we need to make a one-minute film using one continuous long shot so . . . we will undercrank (slow the frame rate of the Bolex) to 12 frames per second when we shoot. Then when we project the film at 24fps the action will be double the natural speed and the one-take will speed by at 28 seconds. When we slow the footage down in Final Cut to HALF the speed, we will get a 56-second continuous shot.

Still not quite a minute, you say. Add titles and slug and it is!