Events Archive - Page 2 of 3 - Process Reversal

Screenings Andy Busti, Echo Park Film Center, Frenkel Defects, Kevin Rice, Martha Jurksaitis, Nicolas Rey, Philippe Leonard, Robert Schaller, Sarah Biagini, Screening, Taylor Dunne

Frenkel Defects – Edition I (Echo Park Film Center, Los Angeles, CA)

Edition I – Process Reversal:

A short program of 16mm film works from the Process Reversal Collective and other artist-run film groups including L’Abominable (Paris, France), The Double Negative Collective (Montreal, PQ), Cherry Kino (Leeds, UK) and The Handmade Film Institute (Boulder, CO). Filmmakers including Sarah Biagini, Andrew Busti, Taylor Dunne, Nicolas Rey, Kevin Rice, Robert Schaller, Martha Jurksaitis & Philippe Leonard.

Presented by Echo Park Film Center

Program Details:

Sucia – Robert Schaller (The Handmade Film Institute)

[5 minutes, 1.33:1, silent, B&W]

In Sucia, Robert Schaller utilizes and exploits a variety of photochemical and photographic processes, specifically handmade pinhole cameras and the persistance of vision, to document several beaches on the Salish Sea and Baltic Sea.

Salt – Martha Jurksaitis

[16mm, 8 minutes, 1.33:1, Tungsten]

A vision of women playing in the sea at Saltburn in North Yorkshire becomes a celebration of the material nature of film. The silver salts in film that react to light also react to the metallic salts in film toners, and a multi-coloured seascape emerges from the salt of the sea. Filmed on a part of the beach that was once notorious for shipwrecks, Salt is a love letter to film and to the churning, crashing, passionate sea. The opening symbol is the alchemical symbol for salt.

I Swim Now – Sarah Biagini (Process Reversal)

[16mm, 8.5 minutes, 1.33:1, optical sound, B&W]

I Swim Now challenges the visual intelligibility of landscape aesthetics by imagining the experiences of one Violet Jessop, a stewardess on board all three sister ships of the White Star Line – the Olympic, the Titanic, and the Britannic – while each suffered varying degrees of collision and wreckage at sea. I Swim Now evokes the intense brutality and repetition of Violet’s unique physical interactions with nature through an expansive accumulation of optical techniques and manipulations.

Terminus for You – Nicolas Rey (l’Abominable)

[16mm, 10 minutes, 1.33:1, optical sound, B&W]

“Terminus for you, by Nicolas Rey, takes us on a strange journey. That of passengers in the Paris metro, moving from one platform to another, from one line to another and from one destination to the next. What do we actually see? Geometric shapes come and go. The faces of people come into view and then flit away. Glimpses of words, titles torn from posters, are interspersed between these fleeting encounters; love, solitude, couples, etc… In this short visual essay on the borderline between the documentary and the avant-garde film, Nicolas Rey freely combines painting, photography and cinema and reveals a passion for reality and a love of humanity.”

Bertrand Bacqué – Visions du Réel (Nyon) Catalog 1997

At Hand – Andrew Busti (Process Reversal)

[16mm, 9 minutes, 1.33:1, optical sound, B&W]

An exorcism, an exploration, and an unveiling.

A subconscious landscape of a withering relationship.

Cornmother – Taylor Dunne (Process Reversal)

[6 minutes, 1.33:1, silent, Tungsten]

A single cartridge of Super 8 captures my mothers last visit to her garden. Her body is seen slowly dissolving towards illumination, while her image is forever immortalized in light and silver. Poem borrowed from the Wabanaki creation myth of the first woman, The Corn and Tobacco Mother.

Perceptual Subjectivity – Philippe Leonard (Double Negative Collective)

[6 minutes, 1.33:1, optical sound, B&W]

Ideas take shape in a kind of cerebral magma where the referents are assigned to parcels of experience from which intelligible elements are formed. Perceptual Subjectivity is an essay on the structural formation of thoughts.

Peach – Martha Jurksaitis

[16mm, 11.5 minutes, 1.33:1, silent, Tungsten]

Synaesthesia is an experience of cross-modal sensuality – ‘hearing pink’, ‘seeing green’, tasting shapes or feeling sounds. I think we are all latently synaesthetic, and that a cinematic work has the capacity to bring about a synaesthetic experience if it is made in a personal, artisanal and ethical way, when the filmmaker and the filmed material sensually respond to one another. ‘Peach’ is an attempt at making a piece of ‘Synaesthetic Cinema’.

Sanctuary – Kevin Rice (Process Reversal)

[3 minutes, 1.33:1, silent, Tungsten]

(no description)

September 24, 2013/0 Comments/by Process Reversal

Screenings Andy Busti, Cherry Kino, Frenkel Defects, Kevin Rice, Martha Jurksaitis, Nicolas Rey, Philippe Leonard, Robert Schaller, Sarah Biagini, Screening, Taylor Dunne

Frenkel Defects – Edition I (Daïmõn’s Studio, Gatineau, Quebec)

Edition I – Process Reversal:

A short program of 16mm film works from the Process Reversal Collective and other artist-run film groups including L’Abominable (Paris, France), The Double Negative Collective (Montreal, PQ), Cherry Kino (Leeds, UK) and The Handmade Film Institute (Boulder, CO). Filmmakers including Sarah Biagini, Andrew Busti, Taylor Dunne, Nicolas Rey, Kevin Rice, Robert Schaller, Martha Jurksaitis & Philippe Leonard.

Organized by the Available Light Screening Collective

Program Details:

Sucia – Robert Schaller (The Handmade Film Institute)

[5 minutes, 1.33:1, silent, B&W]

“(mostly) shot with my handmade pinhole camera, hand-processed 7363, and part of it (the part shot in a Bolex) manipulated using a homemade self-programmed machine…”

Salt – Martha Jurksaitis

[16mm, 8 minutes, 1.33:1, Tungsten]

A vision of women playing in the sea at Saltburn in North Yorkshire becomes a celebration of the material nature of film. The silver salts in film that react to light also react to the metallic salts in film toners, and a multi-coloured seascape emerges from the salt of the sea. Filmed on a part of the beach that was once notorious for shipwrecks, Salt is a love letter to film and to the churning, crashing, passionate sea. The opening symbol is the alchemical symbol for salt.

I Swim Now – Sarah Biagini (Process Reversal)

[16mm, 8.5 minutes, 1.33:1, optical sound, B&W]

I Swim Now challenges the visual intelligibility of landscape aesthetics by imagining the experiences of one Violet Jessop, a stewardess on board all three sister ships of the White Star Line – the Olympic, the Titanic, and the Britannic – while each suffered varying degrees of collision and wreckage at sea. I Swim Now evokes the intense brutality and repetition of Violet’s unique physical interactions with nature through an expansive accumulation of optical techniques and manipulations.

Terminus for You – Nicolas Rey (l’Abominable)

[16mm, 10 minutes, 1.33:1, optical sound, B&W]

“Terminus for you, by Nicolas Rey, takes us on a strange journey. That of passengers in the Paris metro, moving from one platform to another, from one line to another and from one destination to the next. What do we actually see? Geometric shapes come and go. The faces of people come into view and then flit away. Glimpses of words, titles torn from posters, are interspersed between these fleeting encounters; love, solitude, couples, etc… In this short visual essay on the borderline between the documentary and the avant-garde film, Nicolas Rey freely combines painting, photography and cinema and reveals a passion for reality and a love of humanity.”

Bertrand Bacqué – Visions du Réel (Nyon) Catalog 1997

At Hand – Andrew Busti (Process Reversal)

[16mm, 9 minutes, 1.33:1, optical sound, B&W]

An exorcism, an exploration, and an unveiling.

A subconscious landscape of a withering relationship.

Cornmother – Taylor Dunne (Process Reversal)

[6 minutes, 1.33:1, silent, Tungsten]

A single cartridge of Super 8 captures my mothers last visit to her garden. Her body is seen slowly dissolving towards illumination, while her image is forever immortalized in light and silver. Poem borrowed from the Wabanaki creation myth of the first woman, The Corn and Tobacco Mother.

Perceptual Subjectivity – Philippe Leonard (Double Negative Collective)

[6 minutes, 1.33:1, optical sound, B&W]

Ideas take shape in a kind of cerebral magma where the referents are assigned to parcels of experience from which intelligible elements are formed. Perceptual Subjectivity is an essay on the structural formation of thoughts.

Peach – Martha Jurksaitis

[16mm, 11.5 minutes, 1.33:1, silent, Tungsten]

Synaesthesia is an experience of cross-modal sensuality – ‘hearing pink’, ‘seeing green’, tasting shapes or feeling sounds. I think we are all latently synaesthetic, and that a cinematic work has the capacity to bring about a synaesthetic experience if it is made in a personal, artisanal and ethical way, when the filmmaker and the filmed material sensually respond to one another. ‘Peach’ is an attempt at making a piece of ‘Synaesthetic Cinema’.

Sanctuary – Kevin Rice (Process Reversal)

[3 minutes, 1.33:1, silent, Tungsten]

(no description)

September 9, 2013/0 Comments/by Process Reversal

Screenings Andy Busti, Cherry Kino, Kevin Rice, Martha Jurksaitis, Mono No Aware, Nicolas Rey, Philippe Leonard, Robert Schaller, Sarah Biagini, Screening, Taylor Dunne

Frenkel Defects – Edition I (Microscope Gallery, New York City, NY)

Edition I – Process Reversal:

A short program of 16mm film works from the Process Reversal Collective and other artist-run film groups including L’Abominable (Paris, France), The Double Negative Collective (Montreal, PQ), Cherry Kino (Leeds, UK) and The Handmade Film Institute (Boulder, CO). Filmmakers including Sarah Biagini, Andrew Busti, Taylor Dunne, Nicolas Rey, Kevin Rice, Robert Schaller, Martha Jurksaitis & Philippe Leonard.

Organized by Mono No Aware

Program Details:

Sucia – Robert Schaller (The Handmade Film Institute)

[5 minutes, 1.33:1, silent, B&W]

“(mostly) shot with my handmade pinhole camera, hand-processed 7363, and part of it (the part shot in a Bolex) manipulated using a homemade self-programmed machine…”

Salt – Martha Jurksaitis

[16mm, 8 minutes, 1.33:1, Tungsten]

A vision of women playing in the sea at Saltburn in North Yorkshire becomes a celebration of the material nature of film. The silver salts in film that react to light also react to the metallic salts in film toners, and a multi-coloured seascape emerges from the salt of the sea. Filmed on a part of the beach that was once notorious for shipwrecks, Salt is a love letter to film and to the churning, crashing, passionate sea. The opening symbol is the alchemical symbol for salt.

I Swim Now – Sarah Biagini (Process Reversal)

[16mm, 8.5 minutes, 1.33:1, optical sound, B&W]

I Swim Now challenges the visual intelligibility of landscape aesthetics by imagining the experiences of one Violet Jessop, a stewardess on board all three sister ships of the White Star Line – the Olympic, the Titanic, and the Britannic – while each suffered varying degrees of collision and wreckage at sea. I Swim Now evokes the intense brutality and repetition of Violet’s unique physical interactions with nature through an expansive accumulation of optical techniques and manipulations.

Terminus for You – Nicolas Rey (l’Abominable)

[16mm, 10 minutes, 1.33:1, optical sound, B&W]

“Terminus for you, by Nicolas Rey, takes us on a strange journey. That of passengers in the Paris metro, moving from one platform to another, from one line to another and from one destination to the next. What do we actually see? Geometric shapes come and go. The faces of people come into view and then flit away. Glimpses of words, titles torn from posters, are interspersed between these fleeting encounters; love, solitude, couples, etc… In this short visual essay on the borderline between the documentary and the avant-garde film, Nicolas Rey freely combines painting, photography and cinema and reveals a passion for reality and a love of humanity.”

Bertrand Bacqué – Visions du Réel (Nyon) Catalog 1997

At Hand – Andrew Busti (Process Reversal)

[16mm, 9 minutes, 1.33:1, optical sound, B&W]

An exorcism, an exploration, and an unveiling.

A subconscious landscape of a withering relationship.

Cornmother – Taylor Dunne (Process Reversal)

[6 minutes, 1.33:1, silent, Tungsten]

A single cartridge of Super 8 captures my mothers last visit to her garden. Her body is seen slowly dissolving towards illumination, while her image is forever immortalized in light and silver. Poem borrowed from the Wabanaki creation myth of the first woman, The Corn and Tobacco Mother.

Perceptual Subjectivity – Philippe Leonard (Double Negative Collective)

[6 minutes, 1.33:1, optical sound, B&W]

Ideas take shape in a kind of cerebral magma where the referents are assigned to parcels of experience from which intelligible elements are formed. Perceptual Subjectivity is an essay on the structural formation of thoughts.

Peach – Martha Jurksaitis

[16mm, 11.5 minutes, 1.33:1, silent, Tungsten]

Synaesthesia is an experience of cross-modal sensuality – ‘hearing pink’, ‘seeing green’, tasting shapes or feeling sounds. I think we are all latently synaesthetic, and that a cinematic work has the capacity to bring about a synaesthetic experience if it is made in a personal, artisanal and ethical way, when the filmmaker and the filmed material sensually respond to one another. ‘Peach’ is an attempt at making a piece of ‘Synaesthetic Cinema’.

Sanctuary – Kevin Rice (Process Reversal)

[3 minutes, 1.33:1, silent, Tungsten]

(no description)

September 5, 2013/0 Comments/by Process Reversal

Screenings Andy Busti, Cherry Kino, Double Negative, LOMAA, Martha Jurksaitis, Nicolas Rey, Philippe Leonard, Robert Schaller, Sarah Biagini, Screening, Taylor Dunne

Frenkel Defects – Edition I (Playground, London, Ontario)

Edition I – Process Reversal:

A short program of 16mm film works from the Process Reversal Collective and other artist-run film groups including L’Abominable (Paris, France), The Double Negative Collective (Montreal, PQ), Cherry Kino (Leeds, UK) and The Handmade Film Institute (Boulder, CO). Filmmakers including Sarah Biagini, Andrew Busti, Taylor Dunne, Nicolas Rey, Kevin Rice, Robert Schaller, Martha Jurksaitis & Philippe Leonard.

Organized by LOMAA & McIntosh Gallery

Program Details:

Sucia – Robert Schaller (The Handmade Film Institute)

[5 minutes, 1.33:1, silent, B&W]

“(mostly) shot with my handmade pinhole camera, hand-processed 7363, and part of it (the part shot in a Bolex) manipulated using a homemade self-programmed machine…”

Salt – Martha Jurksaitis

[16mm, 8 minutes, 1.33:1, Tungsten]

A vision of women playing in the sea at Saltburn in North Yorkshire becomes a celebration of the material nature of film. The silver salts in film that react to light also react to the metallic salts in film toners, and a multi-coloured seascape emerges from the salt of the sea. Filmed on a part of the beach that was once notorious for shipwrecks, Salt is a love letter to film and to the churning, crashing, passionate sea. The opening symbol is the alchemical symbol for salt.

I Swim Now – Sarah Biagini (Process Reversal)

[16mm, 8.5 minutes, 1.33:1, optical sound, B&W]

I Swim Now challenges the visual intelligibility of landscape aesthetics by imagining the experiences of one Violet Jessop, a stewardess on board all three sister ships of the White Star Line – the Olympic, the Titanic, and the Britannic – while each suffered varying degrees of collision and wreckage at sea. I Swim Now evokes the intense brutality and repetition of Violet’s unique physical interactions with nature through an expansive accumulation of optical techniques and manipulations.

Terminus for You – Nicolas Rey (l’Abominable)

[16mm, 10 minutes, 1.33:1, optical sound, B&W]

“Terminus for you, by Nicolas Rey, takes us on a strange journey. That of passengers in the Paris metro, moving from one platform to another, from one line to another and from one destination to the next. What do we actually see? Geometric shapes come and go. The faces of people come into view and then flit away. Glimpses of words, titles torn from posters, are interspersed between these fleeting encounters; love, solitude, couples, etc… In this short visual essay on the borderline between the documentary and the avant-garde film, Nicolas Rey freely combines painting, photography and cinema and reveals a passion for reality and a love of humanity.”

Bertrand Bacqué – Visions du Réel (Nyon) Catalog 1997

At Hand – Andrew Busti (Process Reversal)

[16mm, 9 minutes, 1.33:1, optical sound, B&W]

An exorcism, an exploration, and an unveiling.

A subconscious landscape of a withering relationship.

Cornmother – Taylor Dunne (Process Reversal)

[6 minutes, 1.33:1, silent, Tungsten]

A single cartridge of Super 8 captures my mothers last visit to her garden. Her body is seen slowly dissolving towards illumination, while her image is forever immortalized in light and silver. Poem borrowed from the Wabanaki creation myth of the first woman, The Corn and Tobacco Mother.

Perceptual Subjectivity – Philippe Leonard (Double Negative Collective)

[6 minutes, 1.33:1, optical sound, B&W]

Ideas take shape in a kind of cerebral magma where the referents are assigned to parcels of experience from which intelligible elements are formed. Perceptual Subjectivity is an essay on the structural formation of thoughts.

Peach – Martha Jurksaitis

[16mm, 11.5 minutes, 1.33:1, silent, Tungsten]

Synaesthesia is an experience of cross-modal sensuality – ‘hearing pink’, ‘seeing green’, tasting shapes or feeling sounds. I think we are all latently synaesthetic, and that a cinematic work has the capacity to bring about a synaesthetic experience if it is made in a personal, artisanal and ethical way, when the filmmaker and the filmed material sensually respond to one another. ‘Peach’ is an attempt at making a piece of ‘Synaesthetic Cinema’.

Sanctuary – Kevin Rice (Process Reversal)

[3 minutes, 1.33:1, silent, Tungsten]

(no description)

August 29, 2013/1 Comment/by Process Reversal

Screenings Andy Busti, CineCycle, Frenkel Defects, Kevin Rice, LIFT, Nicolas Rey, Philippe Leonard, Robert Schaller, Sarah Biagini, Screening, Taylor Dunne

Frenkel Defects, Edition I (CineCycle, Toronto)

Edition I – Process Reversal:

A short program of 16mm film works from the Process Reversal Collective and other artist-run film groups including l’Abominable (Paris, France), The Double Negative Collective (Montreal, PQ), The Handmade Film Institute (Boulder, CO) and LIFT (Toronto, ON). Filmmakers including Sarah Biagini, Andrew Busti, Taylor Dunne, Nicolas Rey, Kevin Rice, Robert Schaller, Philipe Leonard & Chris Gehman.

Program Details:

Panorama Point – Taylor Dunne (Process Reversal)

[2.5 minutes, 1.33:1, silent, Tungsten]

“Using a variety of means-scale, a use of seriality or theatrical modes of presentation-American landscape painters in the nineteenth century absorbed the challenges to framing and spectatorship exemplified by the various forms of panorama entertainments. We see in these landscapes the mastery of framing contending with an energy striving to burst them asunder in pursuit of a new relation to the spectator. ”

Tom Gunning from Landscape and the Fantasy of Moving Pictures: Early Cinema’s Phantom Rides

Sucia – Robert Schaller (The Handmade Film Institute)

[5 minutes, 1.33:1, silent, B&W]

“(mostly) shot with my handmade pinhole camera, hand-processed 7363, and part of it (the part shot in a Bolex) manipulated using a homemade self-programmed machine…”

I Swim Now – Sarah Biagini (Process Reversal)

[16mm, 8.5 minutes, 1.33:1, optical sound, B&W]

I Swim Now challenges the visual intelligibility of landscape aesthetics by imagining the experiences of one Violet Jessop, a stewardess on board all three sister ships of the White Star Line – the Olympic, the Titanic, and the Britannic – while each suffered varying degrees of collision and wreckage at sea. I Swim Now evokes the intense brutality and repetition of Violet’s unique physical interactions with nature through an expansive accumulation of optical techniques and manipulations.

Terminus for You – Nicolas Rey (l’Abominable)

[16mm, 10 minutes, 1.33:1, optical sound, B&W]

“Terminus for you, by Nicolas Rey, takes us on a strange journey. That of passengers in the Paris metro, moving from one platform to another, from one line to another and from one destination to the next. What do we actually see? Geometric shapes come and go. The faces of people come into view and then flit away. Glimpses of words, titles torn from posters, are interspersed between these fleeting encounters; love, solitude, couples, etc… In this short visual essay on the borderline between the documentary and the avant-garde film, Nicolas Rey freely combines painting, photography and cinema and reveals a passion for reality and a love of humanity.”

Bertrand Bacqué – Visions du Réel (Nyon) Catalog 1997

At Hand – Andrew Busti (Process Reversal)

[16mm, 9 minutes, 1.33:1, optical sound, B&W]

(No Description Available)

Cornmother – Taylor Dunne (Process Reversal)

[6 minutes, 1.33:1, silent, Tungsten]

A single cartridge of Super 8 captures my mothers last visit to her garden. Her body is seen slowly dissolving towards illumination, while her image is forever immortalized in light and silver. Poem borrowed from the Wabanaki creation myth of the first woman, The Corn and Tobacco Mother.

Rostrum Press: Materials Testing – Chris Gehman

[3 minutes, 1.33:1, silent, Xenon]

“In Rostrum Press: Materials Testing, I used the Oxberry 16mm animation stand as a mechanism to test the response of a variety of objects and materials to the downward pressure of the camera…each shot in “Rostrum Press” is essentially a self-contained little film in which the camera moves inexorably closer to its object, one-eighth of an inch closer between each frame and the next, until contact is made and the object is pressed down towards the rostrum table as nearly flat as possible.”

Perceptual Subjectivity – Philippe Leonard (Double Negative Collective)

[6 minutes, 1.33:1, optical sound, B&W]

Ideas take shape in a kind of cerebral magma where the referents are assigned to parcels of experience from which intelligible elements are formed. Perceptual Subjectivity is an essay on the structural formation of thoughts.

Sanctuary – Kevin Rice (Process Reversal)

[3 minutes, 1.33:1, silent, Tungsten]

(no description)

August 23, 2013/0 Comments/by Process Reversal

Workshops Bleach Etch, Dye Plating, Kevin Rice, Optical Printing, Reticulation, Tinting, Toning, Workshops

The Mirror: Reshaping and Lighting Film Emulsion (LIFT)

The Mirror: Reshaping and Lighting Film Emulsion – An Abstract:

In this two day workshop, we will be exploring the anatomy of a film strip through a variety of physical and chemical phenomenons that will reshape, destroy and sculpt the film emulsion. Techniques such as reticulation, bleach etching and mirror toning will all be covered and applied to previously processed strips of film, followed by their analysis and interpretation on an optical printer. Additionally, issues concerning both the aesthetic and practical application of these techniques will be addressed through discussions and film screenings, providing participants with a grounds for establishing a sound working method for each process.

Film stock, chemistry and found footage will be provided during the workshop, but participants may also bring in their own footage keeping in mind that this is essentially a course on destroying film…

[Below: Documentation from the previous edition of The Mirror and Colour Bleach Etching Test)

Attending the Workshop [Dates, Fees & Requirements]:

[Workshop Listing on LIFT’s Website]

This workshop is being produced by LIFT in Toronto, ON and will be occurring on August 17 & 18th between the hours of 10:00 AM – 6:00 PM, EST. The second day of the workshop will be divided into two, four hour seminars.

All LIFT policies apply to this workshop (LIFT Policies) and all registration must occur through LIFT (LIFT workshop page)

There are no additional requirements for workshop attendance, but participants are encouraged to bring their own footage for working with during the workshop. Additionally, those who are particularly sensitive to chemical fumes may consider bringing an acid respirator for use during the workshop. However, we will be working with relatively mild chemistry.

Selected Screenings:

(Note: not all works will be shown in their entirety, or perhaps even at all [pending approval and rental fees].)

Terminus for You (Nicolas Rey, 1996, 16mm)
At Hand (Andrew Busti, 2004, 16mm)
Buffalo Lifts (Christina Battle, 2002, 16mm)
Passion (Jürgen Reble, 1999)
Removed (Naomi Uman, 1999)
Deep State (Karen Mirza & Brad Butler, 2012)
2 or 3 things I know about Ed (Zachary Quinn Scheuren)
Various technical documentations

Frequently Asked Questions:

Q: I’ve never worked with motion picture film before. Will that limit my experience?

A: No, experience with motion picture film is not necessary when participating in the workshop and we will try and accommodate as many questions you have possible before, during or after the workshop.

Q: I have some film I would like to bring into the workshop to work with. Is this okay?

A: Yes, but there are a few things you should keep in mind when bringing in film for this workshop. First off, because we will be limited on time, your film should already be processed. This will not affect your ability to work with any of the techniques presented in the workshop per say. Second, it is recommended that you avoid bringing in a film of particular value or significance as we cannot guarantee that it will not be damaged or ruined beyond a usable extent. This is, after all, a workshop on essentially destroying film — so the choice is entirely yours.

If you do decide to bring film, there are a few things you should keep in mind: first, while it is possible to exercise some of the techniques reviewed in this workshop on all varieties of film, the majority of the techniques work best specifically with an image formed of silver. What this means is that black and white film (which is typically formed solely of silver) will be the most versatile stock to bring, where as color stocks will be more limited (as they typically have the silver removed in processing). The only exception to this is in regards to color film that has been bleach-bypassed, a specific lab technique which retains the silver in the dense regions of the color emulsion; if the utilization of color film in this workshop is of particular interest to you, than email us to discuss the topic further — additionally, we will be discussing it in the workshop itself.

As for film guage (i.e. super-8mm, 16mm, 35mm, 70mm, etc), we will have equipment to deal with all shapes and sizes of celluloid, so this should not be of a concern…

Q: I missed the opportunity to attend this workshop. Will you be running it again?

A: If the demand exist, absolutely. Send us an email or message requesting it.

July 24, 2013/0 Comments/by Process Reversal

Workshops Black & White, Bleaching, Developing, Film Processing, Kevin Rice, Printing, Reversal, Workshops

The Gurney-Mott Theory: An Introduction to Hand Processing Motion Picture Film

Frenkel Defect: An Introduction to Hand Processing Motion Picture Film – An Abstract:

“The diverse operations of developing, fixing and washing films can be carried out conveniently with the help of simple buckets with a capacity of about ten litres. The film is unwound very quickly and plunged in such a way that it unwinds in the developer. When all the film is unwound you move it, always very quickly, into the second bucket, taking care to let it pass between your fingers to make sure that the entire surface is well coated with a layer of developing fluid and to avoid any bubbles or incomplete development which might arise. It is therefore imperative that the immersion in the bucket and the movement from the first to the second bucket be carried out as quickly as possible.”

– Cinematographe Manual

In this three day workshop, participants will learn about the history and theory of Motion Picture Film Processing, elementary procedures for negative and reversal processing and procedures for mixing and handling chemistry. Special topics, based on the groups own interest, will also be discussed on the third day.

Attending the Workshop [Dates, Fees & Requirements]:

There will be a limited number of open spaces for this workshop. To register, please contact us here.

This workshop consist of three days over a three week period. The dates for these days are as follow:

A Preliminary Introduction (Free)
- Sunday – July 21st, 2013: 12:00 PM – 2:00 PM (Norlin Library, University of Colorado, Boulder, CO.)
Elementary Black & White Processing [Negative + Reversal] (Cost TBD)
- Sunday – July 28th, 2013: 12:00 PM – 6:00 PM (Location TBA, Boulder, CO.)
Chemistry, Mixology & Special Topics (Cost TBD)
- Sunday – August 4th, 2013: 12:00 PM – 6:00 PM (Location TBA, Boulder, CO.)

There are no requirements for attendance other than that participants provide their own materials. A list of necessary materials will be provided on the first day.

Participants who would like to bring in their own film for processing may do so on the second day. No processing will be occurring on the first day.

Selected Screenings:

(Note: not all of these works will be shown in their entirety or perhaps even at all. Additionally, only some will be shown in their printed format)

The Sounding Lines are Obsolete (John Price, 2009)
Two Years at Sea (Ben Rivers, 2011)
Various technical documentations

Frequently Asked Questions:

Q: I’ve never worked with motion picture film before. Will that limit my experience?

A: No, but an elementary understanding of photography and/or cinematography will maximize your ability to learn during this workshop. We will also be touching on this briefly during the workshop.

Q: I have some film I would like to bring into the workshop to work with. Is this okay?

A: Yes, but there are a few things you must keep in mind: While you can bring film to work with, we will not begin processing film until the second day. Even then, there is no guarantee that we will be able to get around to processing your film. Additionally, if we do process your film, there is no guarantee in “success.”

Q: I would like to travel to attend the workshop, but I’m not certain if I can afford housing accommodations. Do you provide scholarship?

A: Unfortunately, we do not offer scholarship, but we may be able to find accommodations pending volunteers. Additionally, you can also look into couch surfing.

Q: I missed the opportunity to attend this workshop. Will you be running it again?

A: If the demand exist, absolutely. Send us an email or message requesting it.

July 12, 2013/0 Comments/by Process Reversal

Workshops Film Processing, Hand Cranked, Kevin Rice, TIE, Tinting, Workshops

Cinematographe: Hand Cranked Cinema

Cinematographe: Hand Cranked Cinema – An Abstract:

“Le cinéma est une invention sans avenir”

-Louis Lumière

At the time of the introduction of the Lumière brothers’ Cinématographe camera, film had yet to become an industrialized medium — there were no film labs for processing film, no theaters for professionally projecting one’s work, no skilled operators of cameras…and also, there were no rules. Instead it was the responsibility of the film maker to explore the vastly uncharted territory of the cinematic invention and to develop, by experimentation, methods for each aspect of a films production, including photography, processing, printing and projection. The Cinématographe was an embodiment of this mode of production being a device that not only recorded the image, but also acted as a contact printer and projector. Even the development of the negative and the print was accomplished by the camera operator, as per the original instructions for the device:

“The diverse operations of developing, fixing and washing films can be carried out conveniently with the help of simple buckets with a capacity of about ten litres. The film is unwound very quickly and plunged in such a way that it unwinds in the developer. When all the film is unwound you move it, always very quickly, into the second bucket, taking care to let it pass between your fingers to make sure that the entire surface is well coated with a layer of developing fluid and to avoid any bubbles or incomplete development which might arise. It is imperative that the immersion in the bucket, and the movement from the first to the second bucket, be carried out as quickly as possible.”

Not only that, but the Cinématographe was the first device of it’s kind which was easily deployable in the field rather than being tightly constrained to a studio. This was possible not only because of it’s relatively light weight (16 lb. / 7.3 kg), but also because of it’s use of a hand-cranked drive shaft as opposed to an electrically powered one such as with Edison’s Kinetograph.

As a result of each of these elements, the Cinématographe allowed for the film makers to explore both the science of light, motion and chemistry as well as the science of everyday life; more conductors of research than storytellers…

In this workshop, we will be exploring this form of film making whereby the camera, film strip, chemistry and projector are seemingly integrated with the body and mind of the film maker themselves. Participants will collaborate with one another to photograph, print and project 100 feet (approx. 2 minutes) of 35mm motion picture film using nothing more than gears, buckets and apertures.

This workshop will be occurring in association with TIE, The International Experimental Cinema Exposition

Attending the Workshop [Dates, Fees & Requirements]:

This workshop will be occurring on November 20th, 2013 between the hours of 12:30 PM and 9:00 PM. To reserve space for the workshop, contact us here.

The fees for attendance have not yet been determined and there are no other requirements for attending this workshop.

Agenda:

The following concepts will be discussed and explored in the course of this workshop

Pre-industrial / post-industrial cinema
Basic photography
Operation of the 35mm hand cranked camera
Filming of 100′ x 35mm black & white print stock
Processing of the film
- Toning of the film (if time permits)
Projection of the film

Selected Screenings:

(Note: not all works will be shown in their entirety, or perhaps even at all. Additionally, we will not be able to secure prints for this workshop, unless otherwise noted)

La Sortie des usines Lumière à Lyon (a.k.a. Workers Leaving The Lumière Factory in Lyon) [Louis Lumière, 1895]
The Sounding Lines are Obsolete [John Price, 2009]
Various Technical Documentations

Frequently Asked Questions:

Q: I’ve never worked with motion picture film before. Will that limit my experience?

A: No, experience with motion picture film is not necessary when participating in the workshop and we will try and accommodate as many questions you have possible before, during or after the workshop.

Q: I would like to travel to attend the workshop, but I’m not certain if I can afford housing accommodations. Do you provide scholarship?

A: No, but we do have a pool of volunteers that are willing to help people with free accommodations; however, it’s advised that you contact us at least two weeks before the workshop in order to secure permissions.

Q: I missed the opportunity to attend this workshop. Will you be running it again?

A: If the demand exist, absolutely. Send us an email or message requesting it.

April 17, 2013/0 Comments/by Process Reversal

Workshops Emulsion, Kevin Rice, Mono No Aware, Sarah Biagini, Workshops

Handmade Film Emulsion – A Workshop with Mono No Aware

Handmade Film Emulsion – An Abstract:

The process of handcrafting film emulsion is one that offers to the filmmaker an unprecedented degree of creative intervention and expressiveness that simply cannot be accomplished with commercial film stocks — by making emulsion, the filmmaker is given the ability to manipulate its shape, alter its chemical properties, apply it to non-traditional bases and adjust it in countless additional ways to create a unique, photosensitive material. As such, the process manifests new forms of dialogue within the film’s production, many of which are still waiting to be explored.

In this workshop with Mono No Aware, participants will study the craft of producing black and white, silver gelatin emulsion by formulating, mixing and coating emulsion onto cellulose acetate and various other materials. Theories concerning emulsion chemistry and emulsion production will also be explored in this workshop, providing participants with a foundation to develop their own processes and methodologies.

(Mono No Aware listing)

Part of our 2013 Winter Film lab Tour

Attending the Workshop [Dates, Fees & Requirements]:

This workshop is being produced and hosted by Mono No Aware. All persons interested in enrolling in the workshop should do so through the Mono No Aware’s website here. For further questions about enrollment, contact Mono No Aware here or Process Reversal here.

The workshop will be limited to 6 participants at a cost of 165.00 USD per participant. Previous experience with working with motion picture film is not required, but it is encouraged that participants at least study basic black & white negative processing prior to the workshop.

There are no other requirements for participation in this workshop, other than those required by Mono No Aware.

Selected Screenings:

We will be selecting films for exhibition during this workshop which utilize handmade emulsion as part of the dialect of their production. Not every work listed below will be shown in it’s entirety, or perhaps even at all. Additionally, only some will be shown in their native format:

Dunkler kann es nicht werden (Zachary Quinn Scheuren)
To The Beach (Robert Schaller)
Various technical documentations
More TBD

Frequently Asked Questions:

Q: I’ve never worked with motion picture film before. Will that limit my experience?

A: While previous experience with working with motion picture film is not required for attending this workshop, it is highly encouraged that one at least study basic black & white negative processing prior to the workshop. Regardless, we will do everything possible to clarify any questions that you may have before, during or after the workshop.

Q: I have some film I would like to bring into the workshop to work with. Is this okay?

A: Yes, in fact we encourage participants to bring some processed film for printing in the workshop and/or objects for photograming with.

Q: I would like to travel to attend the workshop, but I’m not certain if I can afford housing accommodations. Do you offer scholarship?

A: Unfortunately, we do not offer scholarship and because this workshop is taking place abroad, we do not have a pool of volunteers to draw from to help with accommodations. Our best suggestion would be to look into couch surfing.

Q: I missed the opportunity to attend this workshop. Will you be running it again?

A: If the demand exist, absolutely. Send us an email or message requesting it.

April 16, 2013/0 Comments/by Process Reversal

Workshops Bleaching, Dye Plating, Emulsion, Halochrome, Kevin Rice, Mirror Toning, Mordancage, Resist, Reticulation, Workshops

Зеркало: Reshaping and Lighting Film Emulsion

Mordancage & Dye plating (Kevin Rice)

Mordancage (from Deep State by Karen Mirza & Brad Butler)

Reticulated film emulsion (Kevin Rice)

Bleach Etch (from Deep State by Karen Mirza & Brad Butler)

Acid re-development (Kevin Rice)

Mirror Toning (Kevin Rice)

Partial bleaching (Kevin Rice)

(Note: this film workshop has already occurred. Check out our blog to see some of the work that was produced: Entry 1, Entry 2)

Reshaping and Lighting Film Emulsion – An Abstract:

In this multi-day workshop, we will be exploring the anatomy of a film strip through a variety of physical and chemical phenomenons that will reshape, destroy and sculpt the film emulsion. Afterwards, we will study and develop creative methods of lighting and re-photograph the film emulsion via the optical printer…

[Below: Documentation from “Guilty”, a workshop in association with no.w.here]

Attending the Workshop [Dates, Fees & Requirements]:

This workshop will be occurring across three dates (March 12th, March 14th & March 19th, 2013) and between the hours of 1:30 PM & 3:00 PM (Mountain Time).

Due to the generous contributions of Sarah Biagini and Kevin Rice, this workshop will be free and open to the public, including the use of chemistry, film stock and film equipment. However, both space and resources are limited and therefore we can not guarantee that we will be able to facilitate all prospective participants. Therefore, it is in your best interest to contact us and reserve a space ahead of time.

There are no additional requirements for workshop attendance.

Selected Screenings:

(Note: not all works will be shown in their entirety, or perhaps even at all. Additionally, we will not be able to secure prints for this workshop, unless otherwise noted)

Terminus for You (Nicolas Rey, 1996)
At Hand (Andrew Busti, 2004)
Buffalo Lifts (Christina Battle, 2002)
Passion (Jürgen Reble, 1999)
Removed (Naomi Uman, 1999)
Deep State (Karen Mirza & Brad Butler, 2012)
2 or 3 things I know about Ed (Zachary Quinn Scheuren)
Various technical documentations