2015年12月30日

工藝之美《Bolex: The Last Employee 》紀錄片預告片

即將出爐的國外紀錄長片《Bolex: The Last Employee 》,講述瑞士製作的BOLEX, Kern鏡頭和Nagra精準工業文化。

預告片在這裡:

2015年12月10日

16mm手繪工作坊成果@國立清華大學藝術中心 2015/10月


 2015年10月17/18/24/25日,連續兩個週末、共計四個整天的16mm手繪工作坊終於完成了!
 國立清華大學藝術中心主辦的「手繪16mm工作坊」,目的是希望清大的學生能夠有認識電影膠片與藝術創作的機會,增進多元發展管道。對我來說,能在清大舉辦16mm手繪工作坊別具意義,除了是有幸回到母校回饋學弟妹之外,也算是終於能夠把我在舊金山藝術學院(San Francisco Art Institute)四年的實驗電影重鎮學習與訓練,將各項技術跟創作思維分享給學弟妹。
 清華大學藝術中心非常非常有心,幫忙籌備了許多的設備以及購置材料,讓學生可以在材料費上「節省」一些,以專心發揮最大的創作力。
 這堂工作坊是使用16mm透明與黑膠片創作,從手繪電影的概念開始,介紹動畫、電影與工藝的關聯,同時從實驗電影出發,帶入當代動態影像藝術如何結合裝置藝術的各國案例。最後成果非常歡迎以個人或團體製作的方式,完成手繪影像作品或裝置藝術或結合其他藝術元素呈現作品。呈現方式可以使用16mm現場放映,或是轉成數位檔案配上音樂、音效,或是結合其他自己拍攝的影像也都可以!
 手繪膠片除了膠片是大家都一樣的媒材之外,上色或刮除或各種發想的工具、零件、材料、墨水、毛髮、粉塵、膠帶等等,都是由每一位學員自己發想、嘗試、觀摩、學習以及各自從中發現獨特的樂趣與饗宴。

我們上課的空間並不大,大家面對面而坐,卻在自己的小位子上面創造了無限美妙的世界! 
 
設備雖然有點簡陋,大家的創意無窮,回想起來真的很想宣揚人類的創造力無限。

這位同學蒐集了整整四天的灰塵完成作品,沒想到灰塵也可以成為電影的第一主角吧!

左邊的同學正在使用剛絲絨奮力刮除藥膜面,右邊的同學正在嘗試彩色泡泡上色!     





我們還約了一天晚上在蘇格貓底咖啡屋做成果放映!


 大家都是非常傑出的創作者!


 作品欣賞


影像清潔者記錄_吳育蓁

媒材:16mm膠卷、灰塵、黏著劑
創作理念:
利用投影放大的效果,呈現細小的東西,黏地板的灰塵,蒐集日常的產物,觀看時間的代謝,靠近地面,工作黏與刮,形成身體習慣的律動,看似垃圾般的存在,透過放大,失去原本的質地,反而俱有繪畫性與勞動的身體感。灰塵與垃圾在時間的流動,反而更接近邊緣化產物所微不足道的細節。

創作理念:
我想我是創意素材比較少的作品,所以花費比較多心思在形象的變化上。影片分成獨立的兩部分,前半段是在講從宇宙誕生到現代的事情,後半段則是想呈現一個生命循環,吃與被吃的故事,而吃與被吃也包含了人與人之間的傷害、剝奪。沒有什麼大道理,只是想呈現出一個故事,或是會真實發生的事情。 


聯想節奏_林畇劭





創作理念:
Imagine those you can not see
不是七月 但看見看不見


T iME_黃俊愷

呈現方式:直接使用16mm放映(含聲音)
創作理念:
時間不斷流逝 無法停止
春夏秋冬
生老病死

我們在是非交錯的黑白裡
各自寫下音符
綠黃燈紅
或藍或紫

唱盤持續轉動 當唱針落下
剎那即是永恆
永恆近在咫尺


宇宙初始_陳劭敔

創作理念:

萬物起於混沌,今日的勻稱來自過往的漲落,以超越光速的極限承接。模糊的思維逐漸清晰,單調的對稱開始破缺,人的趣味顯現。萬物仍是混沌。


尖端上的速度_林郁格

創作理念:
前半段以書寫一格一字的方式將當下閃過的思緒附著在膠片上,放映的速度會讓觀賞者只能約略看出單字或單詞,而來不及堆疊進而形成意念,一眼即是感嘆何嘗不是我們生活中的體驗;每個人對於每個文字有不同的敏銳度,能夠接受到的資訊不盡相同ㄝ或許要藉由集結各自持有的認知才是解開疑問的方向。後半段採用不同的材質隊逐格膠片產生連續的刻痕,刻痕會因爲施力大小、施力角度和接觸物粗細,出現不同色澤深淺的痕跡,其中材質以菜瓜布和大理石尖端為例,前者刮除不透光塗層的較淺、形狀較細,後者較深較粗。如果真相藏在層層的遮掩後面,清除所需的阻礙也是解決內心疑惑的方法,但真相與期待總會形成強烈對比,看不清楚能看到的色澤反而更多,期勉自己不被內心的框架束縛住,繽紛的視野又內而外。


睡一下_陳芳儀

創作理念:
很喜歡醒來後慢慢回想做夢的場景,很神秘,就像詩一樣,所以用一首詩當旁白。夢也象徵美好的事情,現在的生活雖然忙碌,但身心靈都很滿足,所以想做夢這個題材。短短一分多鐘的夢感覺上像畫了幾千格的底片一樣長。


Deer Walk_蔡庭萱

創作理念:
倒數變身
也許下著光的雨不停
成為你的藍色
星星泡沫  棉絮迷宮
妄想你十二星座的各種樣貌
月光墨水從容流動
逐格閃過的角  溫熱的
我多麼想
___148sec/color/2015


消失_林杏惠

創作理念:
生在海水泛起的漣漪裡,生在你的笑容裡。我們相聚,我們分離,我們跳著又近又遠的圓舞曲,看的是花,聽的是不停的雨。
黑色容易讓我想起自己,容易讓我消失在黑夜裡。


幾度C?_黃薇倢

創作理念:
夢想要追,身體也要顧。在創作期間打敗病魔而來的體會,提醒自己要記得好好吃飯。


Things I like_簡巧茹

創作理念:
我把很多我喜歡的東西元素加在我的作品裡,像是彩虹、彩色點點、花跟一些奇怪的東西,甚至還有我家狗狗的名字。我想以這件作品來紀念她,也希望每次看到這件作品時,心情都可以很好。


Markokintana_董承平(作品創作中)

創作理念:
今年九月去沖繩水族館遇見這隻美麗的生物,深深被牠在海中的身影迷住。行動較其他鯊魚緩慢,嘴巴很大也只拿來吸浮游生物。生性脾氣好,容易親人,以往漁民曾經常趁機捕殺,瀕臨絕種,所以自己叫牠憨仔。海裡鯨鯊游來,再緩緩游向銀河。這是最當初對畫面的構想,海底景象隨著憨仔的遊憩,進了銀河,轉化成繁星。底片的使用也從基片上色切轉成藥膜刮片來呈現。今早為了寫創作理念,查了資料才發現,在馬達加斯加,鯨鯊叫做Markokintana,正是「繁星」之意。印尼爪哇人也以「背部有星星的魚」來命名。


莊向峰作品



廖景棟作品



陳貞伃作品


























2015年8月12日

移動沖印廠 Alpha Lab's Mobile Film Processing Laboratory

英文標題: Alpha Lab's Mobile Film Processing Laboratory
原文來源:http://motion.kodak.com/motion/Publications/InCamera/Alpha_Lab_39_s_Mobile_Film_Processing_Laboratory.htm
原文發佈時間:June 12, 2015

圖片來源:http://goo.gl/XyJm5s
大綱分享:
在英國的Alpha Lab啟動了第一個移動式大卡車沖印廠,目的是希望可以讓有膠片沖洗需求的人或工作室,可以避免掉運送等交通時間。這個沖印卡車1天工作8小時,最多可沖洗2萬呎的35mm film,他們也會跟數位化單位合作,可以立即提供拍片現場導演或攝影師,在移到下一個就確認好現場所拍攝的影像是否滿意。看內部設計http://goo.gl/XyJm5s

心得:雖然在台灣應該是沒有這個需求,國外可能一般民眾也不需要這個服務,但是,他們還是很努力地建造了一台這樣的移動式沖印卡車,也精心在既有的卡車空間裡規劃了所有沖洗需具備的流程與設備。如果再早個20年,可能台灣會很適合吧?「環島」走透透!

2015年4月14日

[分享] 攝影展覽《看見看不見的》:當電影膠卷保存不當時,變成照片顯得更有趣。

The Unseen Seen: When film reels aren’t preserved perfectly, it makes them all the more interesting to photograph 

看見看不見的》展覽:當電影膠卷保存不當時,變成照片顯得更有趣。
(此篇僅作為參考翻譯,若翻譯有誤煩請提醒。譯/岑竹)


35 mm Positive Print of "Ginger und Fred" (orig. Ginger e Fred), 1985, Dir. Federico Fellini, act 1 of 7
Courtesy of Reiner Riedler35 mm Positive Print of "Ginger und Fred" (orig. Ginger e Fred), 1985, Dir. Federico Fellini, act 1 of 7

When photographer Reiner Riedler began shooting film reels and negatives, he veered away from capturing the content of movies, focusing his lens instead on the stories the reels themselves told. His creative playground, Berlin’s Deutsche Kinemathek film archive, housed hundreds of thousands of films spanning decades. When travel and archiving failed to preserve the reels perfectly, it was good news for Riedler. Rips, scratches and imperfections made the reels all the more interesting to photograph. His travelling exhibition, The Unseen Seen, opens at the TIFF Bell Lightbox this week as part of the 2015 Scotiabank CONTACT Photography Festival. The Post’s Teddy Wilson spoke with Riedler from Vienna about his magnum opus exhibition.
當攝影師 Reiner Riedler 開始拍攝電影膠卷與電影底片時,他的焦點不在電影內容上而是轉移到電影膠卷本身的故事。數十年累積下來擁有上千萬部電影的德國柏林電影資料館(Deutsche Kinemathek是他的創意園區。那些到各處去放片或因保存不當而劣化的電影片,對Riedler來說都是最好的材料。撕裂,刮傷或者各種讓電影底片不盡完美的狀況都可以在攝影作品之下變得更有趣。他今年的巡迴展覽「看見看不見的」(The Unseen Seen),首展於本週加拿大多倫多國際影展,Scotiabank CONTACT Photography Festival的其中一個節目。本篇作者Teddy Wilson在維也納與Riedler訪談關於他的代表作品。(此篇僅作為參考翻譯,若翻譯有誤煩請提醒。譯/岑竹)



Q How did the idea come about for The Unseen Seen, to photograph film reels?
問:關於看見看不見的,拍攝電影片盤的靈感來源為何?
A The idea originally came from a friend who works in the archive at the Deutsche Kinemathek. We went to the same university, and he always told be about his archives. One day I was curious, maybe it is interesting to have a look at the boxes of film reels. They have many stories to tell because they have a long history, they travel a lot. You can see from the outside how long their journey was.
答:靈感來自一位在Deutsche Kinemathek工作的朋友。我們讀同一所大學,他常常說關於電影資料館的事情,所以有一天我就很好奇想要看看那些他說的片盒跟膠卷。這些片盒跟膠卷因為到處旅行,充滿著許多歷史跟故事可以說。光看他們的外觀就知道他們經歷多少旅程。
Q How did you start photographing them?
 問:你如何開始拍攝這些片盤?
A I went to a film museum in Vienna, and rented one movie that had a nick and I brought it to my studio. I was just curious, I had never touched a movie reel. I opened it and took it against a light. There was this special moment when I saw that it was transparent. You have the size of an LP, and you turn it around and then there are these patterns and I was really surprised. In this moment I knew there was something to do. I contacted my friend in Berlin from the Deutsche Kinemathek and asked if we could start something together. I got permission to make a film list and to go to the archives and have a look at all the movies.  They have hundreds of thousands. I started with very simple movies that I saw in my childhood, like Bambi and King Kong. It was a very exciting journey, and it’s not finished.
我從維也納的一間電影資料館租了一部電影片帶回我的工作室, 但是這部片有一個裂痕。我從來沒有碰過電影膠卷,我是因為好奇租的。我打開它朝向亮光看著,當我看到它的透明度時候,一瞬間有很奇妙的感覺。它的大小跟黑膠唱片差不多,但是你側面看時它所擁有的這些圖案讓我好驚訝。那個時候,我就知道可以做什麼事情了。我與那位在Deutsche Kinemathek工作的朋友聯繫,我問我們可否一起進行這個計畫。我因此得到資料館的許可,進到裡面看所有的電影片然後列出我要的清單。他們有上千萬部的電影片。我從我小時候看的一些電影片開始,比如小鹿斑比》和金剛》。那是個讓人興奮的探訪,至今都還沒有結束。
Courtesy of Reiner Riedler
Courtesy of Reiner Riedler 35 mm Positive
Print of "Der Blaue Engel" (The Blue Angel), 1930, Dir. Josef von Sternberg, act 5 of 5


Q How important to your work is the actual films themselves?
問:使用電影膠片實體創作對你來說重要性為何?
A We just know movies by their projected image, we never see the material. I wanted to have a look at the material that transports the image. I wanted to confront the photographs of [the reels], which are titled the title of the movie, and to confront that with the images in our head and in our memory [of the film]. I wanted to see what happens to an audience if you go to a space and you see pictures, titles, and bring your own memory. This was the experiment.
答:我們都只知道電影放映出來的畫面,我們從來沒有看過它的材質。我想要看那些承載影像的材料為何。我想要用攝影來面對,而且用原本電影的片名來當作攝影的作品名稱,用攝影電影片本身來面對這些在我們記憶裡與腦海裡的影像。我想要知道當觀賞者看到這些照片與電影名稱,再結合回憶時會發生什麼事情。這是一種實驗。
Q How did you then develop a technique to photograph them?
問:那之後在拍攝的技術上是如何發展的呢?
A At the very beginning I had to do some experiments. I had to backlight the movies. Now I use a ring-flash, and it is always wide light, so I don’t need to change the colour of the light. I tried to keep the same methods for all the movies, to [better] see the difference [between films] at the end. Also important, I always use the first act. Many of the movies have three, four five, up to 13 rolls, and I just decided to do the first acts. Sometimes I shoot all the acts, like The Three Colors trilogy. [For] Three Colors: Blue, I took all of them because it was amazing, the only [film reel] that was blue. It is the analogies between the colours, the patterns, and the titles that were interesting for me as a photographer.
答:一開始我必須要進行一些實驗。比如一開始我從背後打燈。現在我使用廣角的環形閃燈,所以我不需要一直改變燈的顏色。我盡量每一部影片拍攝的時候都使用同樣的方法,這樣才能看到每部片自然的不同呈現。同樣重要的,我都只拍攝第一本(或第一幕)。有些電影有3,4,5或者到13本,但是我決定都只拍攝第一本。有時候我每本都拍,比如《藍紅白三部曲》,因為《藍》實在太讓我驚豔了,它是全部藍色的我一定要拍它。對於攝影師的我來說,這部的顏色,圖像跟片名都實在太有趣了。
Q How did you approach photographing film reels versus photographing portraits or landscapes?
圖:對於拍攝人像與風景來說,拍攝電影膠卷有什麼不一樣的處理方式呢?
A I did documentary photography before. I think I just needed to change because I was really bored with documentary photography. I had been doing it for 20 years, and I had the feeling that there is nothing more to discover. What is always connected with my work is a journey. I always do journeys into worlds which are for me, undiscovered. The journey into the archives for me was a big adventure, how to look at these film reels. And I found out I was the first who did that. Every film reel is a discovery, it is a nostalgic travel to my past, to my first cinema experience, and of course I learned a lot about filmmaking.
答:我之前是拍紀實攝影的。但是我對於紀實攝影已經感到疲乏需要轉換。做了20年的紀實攝影,我覺得已經沒有什麼好再可以發掘的了。「旅程」一直是我的創作作品的關聯性。我喜歡去全新未開發的地方旅行。去電影資料館的旅程然後看到這些電影膠卷,對我來說是一個大的冒險。而且我發現我還是第一個這麼做的人。每部影片都是一次的探索,是一趟懷舊之旅,懷念我的第一次電影經驗。當然我也學了很多關於拍攝電影的知識。
Courtesy of Reiner Riedler
Courtesy of Reiner RiedlerCitizen Cane
(此篇僅作為參考翻譯,若翻譯有誤煩請提醒。譯/岑竹)
The Unseen Seen is free and runs through June 14 at the Bell Lightbox in Toronto.

2015年4月4日

Kitchen Sink Cinema: Artist-Run Film Laboratories

http://www.filmcomment.com/entry/artist-run-film-laboratories

Kitchen Sink Cinema: Artist-Run Film Laboratories

By Genevieve Yue on March 30, 2015
print Print
  • Recipes for Disaster Helen Hill
page from Recipes for Disaster: A Handcrafted Film Cookbooklet, by Helen Hill, 2005
There are roughly 65 film labs left in the world, of which around 20 are in North America. These ranks, along with the number of film stocks being manufactured, dwindled as digital technologies have saturated the realm of production and studios have moved away from film. When it comes to labs that process 16mm film—a mainstay of experimental film—and small-gauge stocks, only a few commercial options exist, mostly in the United States: Cinelab, in Boston; ColorLab in Maryland; Dwayne’s Photo in Kansas; and Fotokem in Burbank. One of the most recent casualties of this technological shift has been Pac Lab, which closed in New York, leaving the city without any facilities to process and print 16mm.
The decline in commercial film production, however, has been countered by a rebirth in the phenomenon of artist-run film laboratories. What in the early Nineties was limited to a handful of cooperatively owned, independent labs, mostly in France, has grown into an international network of over 30, many of them formed within the last several years. The decline of film processing created a surplus of cheap, unwanted equipment that, in the right hands, could be repurposed for the smaller-scale operation of an artist-run lab. Saved from the scrap heap, many discarded contact printers and lomo processing tanks have begun a second life as artists’ tools.
For many, this historical juncture between film and digital media has been cause for lament. But among those in the growing artist-run film lab community, the view is considerably more sanguine. Many are younger filmmakers drawn to the creative possibilities of hand-processing in workshops at places like Mono No Aware, in Brooklyn, or Big Mama’s Cinematheque in Philadelphia. For these artists, film offers a range of textures and expressive possibilities not available in digital formats. Others are drawn to the “home-brew” DIY spirit that celebrates the autonomy of artist-run labs. Josh Lewis, who in 2012 founded the Negativland lab in Ridgewood, Queens, describes it as “a more involved way of being a filmmaker. You can’t rely on an industry that serves Hollywood. You need to be a technician and a filmmaker.”
For filmmakers like Lewis, the current moment offers the opportunity to sever cinema from its industrial tether. In many ways, this is the culmination of the avant-garde dream to become fully independent. Experimental film, at least at the level of materials, has been invariably tied to the commercial conditions of the film industry at large, though its output may have more in common, aesthetically and culturally, with the types of objects that circulate in the art world. Now, in response to a collapsing apparatus for the production of film, avant-garde filmmakers are developing the means and momentum to adapt and design their own methods of making films.
Brûle la mer Nathalie Nambot and Maki Berchache
Brûle la mer
The current artist-run lab movement has historical roots in the independent strain of the avant-garde. In 1966, the London Filmmakers’ Co-op, modeled after the shared distribution structure of the Filmmakers’ Co-op in New York, added to its operations a darkroom and lab space for making films. Later, a few small labs were established in Europe, including, in the Eighties, Studio Één in the Netherlands, and Métamkine, or MTK, in Grenoble, France. Both of these were open to anyone who wished to use their facilities. MTK became a hand-processing hub for filmmakers in France, Switzerland, and Belgium, and by 1995 it had proved so popular that it had to shut its doors to newcomers. The founders, however, offered to assist others in establishing new labs.
Among the many facilities that MTK helped to build was L’Abominable, which has become the largest collective artist-run film lab today. L’Abominable, founded by 10 filmmakers in 1996, set up residence in a basement on the outskirts of Paris. It initially operated with no funding, scavenging equipment wherever it could, and later acquired support from the CNC (the National Center for Cinema and the Moving Image), a branch of the French Ministry of Culture. Hundreds of filmmakers came to use its facilities over the course of its first decade. In 2011, L’Abominable moved into the kitchen of a former school in La Courneuve, a municipality that provides additional financial support to the lab. Even with their expanded facilities, which includes, rare among artist film labs, a continuous processing machine, L’Abominable has not been able to keep up with the demand, admitting a maximum of 40 new members per year. But like MTK, it has done much to assist others in forming their own labs. From 1995 to 1999, it published the newsletter L’ébouillanté, which organized a European network of labs that could share resources and information. Since 2005, following an international meeting of artist-run labs in Grenoble, the website filmlabs.org, along with two listservs, has provided crucial support for maintaining this network and expanding it to North America and Asia.
The most distinctive quality about the current artist-run lab movement is the international circuit that sustains it. In its current manifestation, the artist-run film lab can be both an autonomous unit in Toronto (Niagara Custom Lab), Seoul (Space Cell), Bogota (Kinolab), or other locales, and a satellite attached to an international network. The idea of a collective, which stems in part from the cooperative organizations of the Sixties, persists in terms of the labs’ mostly open-door policies as well as this broader global unit. These collective dimensions are both political and practical. On the political side of things, some labs are more explicitly anti-commercial than others: Anne Fave and Emmanuel Carquille, in their statement “We Remember (1995–2002)” on the L’Abominable website, pointedly describe “the necessity to establish our own means of production” apart from the industrial system, and many labs operate as non-profit organizations, securing grants to not only provide workshops to their communities, but to stage screenings as well. But not every facility operates according to these ideals. Some labs more strictly restrict membership, functioning as barely more than a shared artist studio. And some like no.w.here in London, the Super8 Reversal Lab in the Hague, Niagara Custom Lab, and Nanolab in Australia even offer processing services for a fee, particularly in those areas where commercial facilities have shut down.
Seoul Electric Richard Tuohy
Seoul Electric
Practically speaking, resources are limited. Equipment, even when acquired cheaply, is often difficult and laborious to maintain. Beyond the basic setup of a sink, a lomo tank (or bucket), and a contact printer, few labs have the plumbing capacity necessary for continuous processing machines. When Lewis came across a 35mm processor with 25-foot tanks from a lab that was closing in New Orleans, he found he could afford the equipment, but couldn’t manage a space adequate for it. Running an artist lab, moreover, comes with the reality of rising rents, the necessity of having a day job, and members who don’t always get along or stick around. Expertise in maintaining equipment can be learned but takes time. A few, like Lewis, are former employees of commercial labs; more often the people who run and service equipment are self-taught, like Richard Tuohy and Dianna Barrie of Nanolab, or gain experience by visiting other labs, as in the case of Kevin Rice, one of the founders of Process Reversal. And many labs, even well-established ones like L’Abominable, have struggled to find and maintain a workspace. Collectivity, more than a political ideal, may in fact be most effective as a survival strategy in an age of austerity and economic decline. Instead of rejecting the dictates of capitalism by declaring oneself independent, the pooling together of resources serves more appropriately as a calculated response to inevitable conditions. Where physical space is not guaranteed, the network helps to maintain and redistribute knowledge and equipment until a temporary home can be found. Quite simply, labs help secure the existence and future of each other.
In many instances, the idea of the collective, and the sharing of resources, has been more important than the establishment of a physical space. In 2011, L’Abominable was evicted from its cellar headquarters before moving to La Courneuve. Fave and Carquille maintain that it was “a collective, well before it was a space.” Process Reversal, a new organization located in Colorado, has yet to build a workspace, though its members have in the meantime acquired enough equipment to build several labs, and they devote their efforts to touring workshops and assisting the formation of other labs. Rice explains: “We don’t see ourselves as a site-specific organization. Our original intention was to set up some public workspace that all of us could access. Now it’s more of a supportive role, going to communities and helping them to set up their own labs.”
Tuohy and Barrie, in addition to maintaining Nanolab in Daylesford, a rural community outside of Melbourne, are just as busy visiting and setting up labs elsewhere. The pair has visited roughly two-thirds of all the artist-run labs in the filmlabs.org network, and as their activities show, creating a lab also means instructing others in lab work. What was once a set of carefully guarded industry secrets has become a matter of open access, with expertise and salvaged equipment shared among a loose federation of film artists. A typical lab origin story goes like this: two years ago, at the Rotterdam Film Festival, Tuohy, who was there showing his own work, met a group of filmmakers from Indonesia who were interested in setting up their own lab. They had been offered a space in a vacant government building that had, in fact, formerly housed a film laboratory. Tuohy and Barrie visited the facility, helping the filmmakers restore equipment and build a new printer out of various parts to get the lab functional. Its name, Lab Laba-laba, translates to Spider Lab, which is as good as any metaphor for the international web of artist-run labs.
recipes for disaster helen hillThe practicalities of survival are also a part of an enduring DIY ethos. In his workshops at Mono No Aware, which he runs in conjunction with Negativland, Lewis advocates the simplicity of the “bathtub model,” where film can be hand-processed at home. “There’s no secret knowledge,” he says. “You can make any kind of chemistry you need.” Hand-processing has the advantage of being cheaper and having a faster turnaround than commercial facilities, which often require shipment to an offsite processing center. Some artists, like Joel Schlemowitz (Incantation of the Spirit of the Silver Halide, 97) and Tony Conrad (in his cooked and electrocuted films from the Seventies), have made hand-processing part of their performances by shooting, developing, and projecting filmstrips in front of an audience. Among the resources available on filmlabs.org is Helen Hill’s Recipes for Disaster: A Handcrafted Film Cookbooklet, a handmade, liberally illustrated and collaged 2005 collection of tips and procedures for making and processing films on one’s own. It includes a page on Hill’s 2001 film Madame Winger Makes a Film (A Survival Guide for the 21st Century), which also serves as a primer for DIY filmmaking. In it, the animated Madame Winger, a gravel-voiced Southern dame, asks: “When your film lab is reduced to rubble, how are you going to keep making films?” Much as the threat of “nuclear war or gigantic terrorist attacks” serves as the impetus for creating a “film lab bomb shelter” in Madame Winger, Recipes for Disaster was shaped by catastrophic events. The text exists only in photocopied form; the original was destroyed along with many of Hill’s films during Hurricane Katrina.
The decline of commercial film laboratories in the last 15 years was a result not of violent natural or man-made disasters as Hill mordantly predicted, but gradual technological and industrial change. Artist-run labs have sprung up to fill some of these gaps, though these are unevenly dispersed. The majority of independent labs are in France and other parts of Europe; the fewest are in the United States. Paradoxically, the persistence of a few major American commercial labs like Deluxe or Fotokem has undermined the establishment of artist-run labs domestically. Abroad, where commercial facilities closed far earlier, the necessity for independent labs has been around longer. Film manufacturing, which is more or less limited now to Kodak, along with places that process film, have historically had their base in the American film industry. It might seem then that where commercial facilities exist, there can be few or no artist-run labs. Yet, as many see it, the commercial base is necessary for the existence of even autonomous labs, if only for the continued manufacture of 8mm and 16mm film. (Though there are recent efforts to create homemade film emulsions, including the work of Esther Urlus of Filmwerkplaats in Rotterdam and Alex MacKenzie in Vancouver, as well as various emulsion workshops in the U.S. run by Lewis and Process Reversal, these are not enough to sustain the level of production among the artist-run lab circuit.) However atrophied these commercial facilities have become, they function as the de facto base for which any filmmaking can occur. The continued industrial operations in the United States, then, enables the formation of artist-run labs elsewhere. Tuohy observes: “Kodak will last as long as Fotokem lasts. The artist-run film lab needs you to have commercial facilities in the U.S.”
The artist-run lab, however, is not only about reproducing the technical mechanisms of filmmaking. There is an aesthetic range between those that seek to approximate professional standards in processing and those who wish to use the laboratory as the site of experimentation. Moreover, many independent labs have engineered new equipment and techniques. In part, this is a pragmatic innovation: machinery acquired from defunct commercial labs or university classrooms usually has to be modified to fit the scale of the artist-run lab. But it also offers a new set of creative possibilities. Instead of the fetishism or the resuscitation of a “dead” medium (though that element certainly persists, perhaps most commonly in the art world), filmmaking finds new life in the autonomy afforded by the artist-run lab, fulfilling a longstanding avant-garde conception of the medium defined as an artistic one, well before its technological determination. Like more traditional artistic forms like painting and sculpture, it might be defined as a method of making whose tools can be changed and renewed, but whose governing impulse remains the same. Pip Chodorov of L’Abominable writes in “The Artist-Run Film Labs” in last fall’s issue of Millennium Film Journal: “There are no format wars, no compressing or codecs, no backing up or transcoding, no upgrades or obsolescence problems, no corporations to force us to buy new equipment. We are not in an economy but an ecology…” Film need not compete with digital media—and filmlabs.org serves as a crucial communicative infrastructure to the artist-run lab movement—but might coexist as a related form alongside it.

2015年3月1日

[分享] 如何清理與組裝Canon Super 8 攝影機

[分享] 如何清理與組裝Canon Super 8 攝影機 
http://canon-s8-repair.yolasite.com/

感謝Mishkin Productions提供內容!

有:
目視鏡清理 (eye-piece-cleaning)
814/1014攝影機手把移除  ( 814/1014 handgrip-removal)
814攝影機目視鏡更換 ( 814 eye piece replace)
814/1014 攝影機拆解 (814/1014-body-disassembly)
1218 拆解(1218-disassembly)
Canon 鏡頭更換或修理( Canon lens-repair-or-replace)
16mm攝影機詳細介紹(16mm Cameras)
進階攝影機修理(Advanced camera repair)


2015年1月14日

【荷蘭鹿特丹Filmwerkplaats工作室+許岑竹16mm實驗電影放映會】@ 國家電影中心 104.1月13&14日 19:00pm

【荷蘭鹿特丹Filmwerkplaats工作室+許岑竹16mm實驗電影放映會】
104年1月13日與14日,晚上19:00 @ 國家電影中心電影教室 (台北市青島東路7號4樓)

關於Filmwerkplaats位於荷蘭鹿特丹的膠卷電影工作室,成員皆來自很多不同的國家的藝術工作者,成員們以8mm, 16mm 或35mm為主要創作的媒材,也多是以DIY的獨立製片方式包辦所有的製作過程,舉凡拍攝,沖洗,印製,剪接,聲音錄製 …… 等等。每個成員都有他們熱愛膠卷的不同的理由,也有他們個人獨特的藝術語言與想法,也都以不同的方式反映在他們的作品中。

關於放映:
這次曾莉珺選擇了一些荷蘭鹿特丹的膠卷電影工作室歷年來的部份作品,也將直接播放16mm的原作或拷貝片。有黑白,有彩色;有有聲,也有無聲;有純以16mm攝影機拍攝,有加入很多後製時的手工多層次曝光,也有以不同的材質黏貼於膠卷上的類影像,也有以手工特製的針孔攝影機拍攝,也有以強調媒材的特質來支撐創作的想法,也有利用自製的感光乳劑來承載歷史的痕跡 …… 等等。此外,本次活動也另邀請兩部許岑竹曾於2011年鹿特丹影展發表過的16mm短片作品參與本次放映活動,放映之間會有一場兩位創作者對16mm實驗電影的介紹與討論。

主持人:徐明瀚(《Fa電影欣賞》執行主編)
主講人:曾莉珺(Filmwerkplaats成員)、許岑竹(舊金山藝術學院電影創作碩士,現任職於國家電
中心典藏修復組)

片單介紹
《Reflect》圖片提供:許岑竹
《Reflect》許岑竹提供
《Reflect》 許岑竹 | 16mm | 彩色| 無聲 | 3.5分鐘 | 2010
在獨處的空間裡,感受最大的寂靜。 使用16毫米以及標準8毫米仔細聆聽房間與光影的對話、 碰觸手冲膠片與光影的親密、以及回蕩著對家人的思念。 在剪輯的過程中, 我將原本的節奏解體,重新尋找每個片段隱藏的顏色、圖案及色調共鳴,編織成另一種視覺織品。(本片為手沖影像)
《Cotton Sugar》許岑竹提供
《Cotton Sugar》 許岑竹 | 16mm |彩色| 無聲 | 3.5分鐘 | 2009
以電影膠片為媒材,我將編織和手工藝術的喜好和元素融入創作過程。 我用棉花片包起已經手沖沖好的黑白膠片, 用各色染料浸濕。 膠片透過棉花吸收了染料上色,而棉絮也跟著附著在膠片上面。 因此膠片本身上的感光乳劑 (emulsion) 和棉絮成了雙疊影像,互相交織出現。 相反的色調, 正片和負片, 抽象以及可辨識的影像, 共同織出了影像中可以對話的極端元素。(本片為手沖影像)
Balga曾莉珺提供
《Balga》曾莉珺 | 16mm | 黑白 | 無聲 | 4 分鐘 | 2012
以高反差的黑白膠卷紀錄澳洲原生植物──the grass tree的特質,借由膠卷獨特的語言與光影的呼應,呈現了具有詩意的視覺影像,以回應我對the grass tree的感受。他是個很獨特的植物,似草也似樹的外觀,極緩慢的生長速度以及長久以來與土地和人之間的關聯,讓我深受吸引。他被稱為Xanthorrhoea preissii,原住民稱他為Balga。
Ai MiKlara Rava提供
Ai MiKlara Ravat |16mm |彩色 | 無聲 |2分鐘 | 2012
靈感來自於法國中世紀的作曲家與詩人紀堯•德•馬肖(Guillaume de Machaut)的音樂
Ai Mi 是以一個當代女性的符號來對應中古世紀著名的人物,主教,音樂家和天使。
創作者將影像列印與透明的貼紙上,再轉黏於16mm透明的膠卷上,因黏貼的痕跡與手工操作,會有不同的影像特質與痕跡。
Abandoned Interiors
Esther Urlus提供
Abandoned Interiors Esther Urlus |16mm |彩色 |有聲| 8 分鐘 | 2004
以手工沖洗彩色負片紀錄一系列即將因都市更新被拆除的空屋。
NYCJudith van de Made提
NYCJudith van de Made | 16mm | 黑白 |無聲 | 2分鐘 | 2012
用Robert Schaller(美國實驗電影工作者)設計的自製手搖針孔攝影機,紀錄2012年在紐約的那個夏天。利用高反差的黑白膠卷的特質與這個手搖針孔攝影機的特殊性來書寫視覺日記。這個攝影機令你不確定所截取的影像會坐落於那一個片格,也不能預設你拍攝的影像,不能控制構圖,也不知道拍了多長,這些種種的偶然性所造成的特殊節奏,對我來說,如同寂靜之聲。


Konrad & Kurfurst Esther Urlu提供
Konrad & KurfurstEsther Urlus | 16mm |彩色 | 有聲 | 7分鐘 | 2014
以自製感光乳劑的脆弱性來隱喻與反思德國騎士英雄人物Konrad與駿馬Kurfurst在1936年的柏林奧林匹克的事蹟。Konrad因不斷自馬上跌落,又不斷爬上,這樣堅持的精神,在當時刻意被吹捧為英雄人物,後來也在歷史的痕跡下有了不同的定位。這部短片,不但以自製的感官乳劑的特殊性,也重新研究了一些早期的影像的染色技巧,來重新詮釋他們跌落水中的那幾分鐘。
Utrecht 3&4Daan de Bakker提供 
Utrecht 3&4 Daan de Bakker |16mm |彩色 |無聲 | 6分鐘 | 2010
所有影像皆成型於拍攝過程,不管是多重曝光,顏色經由光的混合,還是針孔所造成的均衡影像,在在都是經由16mm與攝影機的特殊性來承載一系列城市的印象,無任何的後置剪接也如實的反映創作者的觀察與感受。
SciopticonHanne van Asten提供
《Sciopticon》  | 16mm |彩色 | 有聲 | 6分鐘 | 2004
光的紀錄。光的顏色,光的形狀,光的結構,光的律動。 光給予了生命,也是生命本身。



WijkDaan de Bakker提供
WijkDaan de Bakker | 16mm | 彩色 |無聲 | 9分鐘 | 2008
城市的觀察與紀錄,其中的部份特效是來自於重新翻攝的多重曝光。
《InterludeJoost van Veen提供
《InterludeJoost van Veen |16mm| 黑白 | 有聲 | 3分鐘 | 2005
以高反差黑白膠卷紀錄魚的優游,再以特殊的化學藥劑在沖洗的過程中,製造對於影像的另一種影像。

《Flow》曾莉珺提供
《Flow》曾莉珺| 16mm| 黑白 | 有聲 | 17分鐘 | 2013
如果改變是一個過程,起點等於終點嗎?變的是什麼?不變的是什麼?以黑白兩元素為起點,探索動靜之間,虛實之間,開合之間,與輕重之間的轉移與流動。藉由抽象的視覺語彙對應呼吸與凝視。
Deep Red Esther Urlus提供
Deep Red Esther Urlus | 16mm |彩色 |無聲 |7分鐘 | 2012
高反差的黑白膠卷紀錄了荷蘭秋冬的枝幹,以黑白的影像為起點,在手工後置的過程中進行近36層的曝光。一次次不斷地以不同的彩色濾紙進行曝光,讓不同影像因多重層疊而造成色澤的混合。

《Color Writing Me Out》Christelle Gualdi提供
《Color Writing Me Out》Christelle Gualdi |16mm | 彩色 | 有聲| 6 分鐘| 2006
跟隨著某人的旅程,但不確定前往何處。時時刻刻的改變也給與了一個開放的答案。