Re-Search & Developement

Technical knowledges & human souvenirs about of analogue film practise resulting from the project RE MI

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re-engineering-the-industry:oxberry:oxberry-index [2017/11/08 12:56]
esther
re-engineering-the-industry:oxberry:oxberry-index [2017/11/20 16:41] (current)
pierre Correction on title levels
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 +====== Re-engineering the Oxberry Optical Printer ======
 +
 The **Oxberry Optical Printer** at Filmwerkplaats was a donation from a special effects company in London. The **Oxberry Optical Printer** at Filmwerkplaats was a donation from a special effects company in London.
 There, the printer has been purely deployed for commercial ends. It has been used for the special effects of over a hundred films including Brazil, The Adventures of Baron Munchausen (Special Effects Oscar nomination),​ Aliens, Fear and Loathing in Las Vegas, Donnie Brasco and Twelve Monkeys, just to name a few.  There, the printer has been purely deployed for commercial ends. It has been used for the special effects of over a hundred films including Brazil, The Adventures of Baron Munchausen (Special Effects Oscar nomination),​ Aliens, Fear and Loathing in Las Vegas, Donnie Brasco and Twelve Monkeys, just to name a few. 
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-** +===== Masterclass =====
-//​RE-ENGINEERING THE OXBERRY//**+
  
 +October 13-16, 2016\\
 +with **Simon Lund**, **James Rubery**, **Rebecca Erin Moran**, **Bart Koppe**
  
-MASTERCLASS,​ October 13-162016+The MasterClass focused on re-engineering the Oxberry Optical Printerand the transfer of this analog film device into a modern controlled machine. Making this workhorse, this sophisticated tool of yesteryear, future-proof. ​
  
-{{ :​re-engineering-the-industry:​oxberry:​oxberry_mc_pict.11.jpg?​400 |}}+{{ :​re-engineering-the-industry:​oxberry:​oxberry_mc_pict.11.jpg?​direct&400 |}}
 //Simon Lund & Rebecca Erin Moran// //Simon Lund & Rebecca Erin Moran//
  
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-{{ :​re-engineering-the-industry:​oxberry:​card_board_box.jpg?​400 |}} +{{ :​re-engineering-the-industry:​oxberry:​card_board_box.jpg?​direct&400 |}} 
-{{ :​re-engineering-the-industry:​oxberry:​after_3.jpg?​400 |}}+{{ :​re-engineering-the-industry:​oxberry:​after_3.jpg?​direct&400 |}}
 //Bart Koppe & Simon Lund + Ox, the day after// //Bart Koppe & Simon Lund + Ox, the day after//
  
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 Bart Koppe** Bart Koppe**
 Filmwerkplaats member, media artist with a special interest in internet related media art installations,​ experienced system administrator and computer repairer. Filmwerkplaats member, media artist with a special interest in internet related media art installations,​ experienced system administrator and computer repairer.
- 
- 
-Previous to the Master Class there was a film program, curated by Rebecca Erin Moran, with filmic highlights from the history of artist made constructions of composite crazy, analogue visual effects on film. 
  
  
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-**OXBERRIAN MOTION ​screening** ​+===== Screening ​Oxberrian Motion ===== 
 + 
 +Previous to the Master Class there was a film program, curated by Rebecca Erin Moran, with filmic highlights from the history of artist made constructions of composite crazy, analogue visual effects on film.
  
 {{ :​re-engineering-the-industry:​oxberry:​tango_rybczynski_.jpg?​400 |}} {{ :​re-engineering-the-industry:​oxberry:​tango_rybczynski_.jpg?​400 |}}
-still from Tango, by Zbigniew Rybczyński,​ 1980+//still from Tango, by Zbigniew Rybczyński,​ 1980//
  
  
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 ---- ----
  
 +===== Pilot Residency | Johann Lurf =====
 **Artist in Residence Johann Lurf at WORM Filmwerkplaats Rotterdam** ​ **Artist in Residence Johann Lurf at WORM Filmwerkplaats Rotterdam** ​
  
-2016 November 22/December 12  +{{:​re-engineering-the-industry:​oxberry:​ofggjcf_sd_fdzz5ednczw_thumb_3d45.jpg?​nolink&​400|}}{{:​re-engineering-the-industry:​oxberry:​otuhea1ttekyfzkgb4m4nq_thumb_3d1f.jpg?​nolink&​400|}} 
-Screening December 7th + 
-Workshop December 10/11th+//work in progress photos by Johann Lurf 
 +// 
 + 
 +2016 November 22 December 12 Screening December 7th Workshop December 10/11th
  
 The main focus of of Johann'​s residency period was to put on the technological possibilities of 16mm and 35mm film in connection to the Optical Printer. With its possibilities of magnification and zooming into a 35mm film frame he could study the aesthetics and attributes of both the analogue and digital soundtrack as well as the particular quality of laser subtitles that are burnt into projection prints for film projection. The stereoscopic lens for the Bolex camera at WORM Filmwerkplaats made it possible to work with 3D moving images in a simple, analogue way. The main focus of of Johann'​s residency period was to put on the technological possibilities of 16mm and 35mm film in connection to the Optical Printer. With its possibilities of magnification and zooming into a 35mm film frame he could study the aesthetics and attributes of both the analogue and digital soundtrack as well as the particular quality of laser subtitles that are burnt into projection prints for film projection. The stereoscopic lens for the Bolex camera at WORM Filmwerkplaats made it possible to work with 3D moving images in a simple, analogue way.
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 During the residency stay at WORM Filmwerkplaats Johann Lurf guided a 2-day workshop open to local artists. The first day was focusing on ways of filming different places. He was showing film examples, discussing ways of approaching space in research and using the characteristics of the moving image to narrate space. Strategies on how to use formal ways of editing and camera motions and stereoscopy were explained. On the second day the participants learned about the fundamentals of the optical printer, its possibilities,​ methods of treating 16mm and 35mm film as well as its limitations. Participants worked with found footage, again with film examples and considering structural practices. The workshop was concluded by hands on practice with different types of film splicers. This way each participant was able to bring home a self edited loop of 16mm found footage film. During the residency stay at WORM Filmwerkplaats Johann Lurf guided a 2-day workshop open to local artists. The first day was focusing on ways of filming different places. He was showing film examples, discussing ways of approaching space in research and using the characteristics of the moving image to narrate space. Strategies on how to use formal ways of editing and camera motions and stereoscopy were explained. On the second day the participants learned about the fundamentals of the optical printer, its possibilities,​ methods of treating 16mm and 35mm film as well as its limitations. Participants worked with found footage, again with film examples and considering structural practices. The workshop was concluded by hands on practice with different types of film splicers. This way each participant was able to bring home a self edited loop of 16mm found footage film.
 +
 +{{:​re-engineering-the-industry:​oxberry:​23435589_10214715237172254_1082342935_n.jpg?​nolink&​400|}}
 +
 +//
  
  
 +Johann Lurf's workshop | photo by Patrícia Chaves//
  
 ---- ----
  
  
-**+===== Oxberry Workshop | Jan Scholten ===== 
  
-Oxberry Optical Printer Workshop** +16 June 2017
-date: 16 June 2017 +
-time: 11.00-18.00+
  
 +{{ :​re-engineering-the-industry:​oxberry:​19222585_10154858837382809_6093176411967771669_o.jpg?​400 |}}
  
 This workshop learned the members how to operate the machine: how to load the projectors and camera, operation of the controls, bi-packing, matte printing, double exposures, making blow-ups en re-photographing (found) footage. This workshop learned the members how to operate the machine: how to load the projectors and camera, operation of the controls, bi-packing, matte printing, double exposures, making blow-ups en re-photographing (found) footage.
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 +----
 +
 +===== Instruction Videos ===== 
 +
 +
 +**A. Oxberry gates explained
 +**
 +<​html>​
 +
 +<iframe src="​https://​player.vimeo.com/​video/​243464072?​title=0&​byline=0&​portrait=0"​ width="​640"​ height="​1138"​ frameborder="​0"​ webkitallowfullscreen mozallowfullscreen allowfullscreen></​iframe>​
 +
 +</​html>​
 +
 +**B. how to change the gate for bipacking
 +**
 +<​html>​
 +
 +<iframe src="​https://​player.vimeo.com/​video/​243464096?​title=0&​byline=0&​portrait=0"​ width="​640"​ height="​360"​ frameborder="​0"​ webkitallowfullscreen mozallowfullscreen allowfullscreen></​iframe>​
 +
 +</​html>​
 +
 +**C.control panel setting for loading**
 +
 +<​html>​
 +
 +<iframe src="​https://​player.vimeo.com/​video/​243463816?​title=0&​byline=0&​portrait=0"​ width="​640"​ height="​360"​ frameborder="​0"​ webkitallowfullscreen mozallowfullscreen allowfullscreen></​iframe>​
 +
 +</​html>​
 +
 +**D. control panel 180-sync setting**
 +
 +<​html>​
 +
 +<iframe src="​https://​player.vimeo.com/​video/​243463730?​title=0&​byline=0&​portrait=0"​ width="​640"​ height="​360"​ frameborder="​0"​ webkitallowfullscreen mozallowfullscreen allowfullscreen></​iframe>​
 +
 +</​html>​
 +
 +**E. 2 types of projector-camera sinc-running**
 +
 +<​html>​
 +
 +<iframe src="​https://​player.vimeo.com/​video/​243463644?​title=0&​byline=0&​portrait=0"​ width="​640"​ height="​1138"​ frameborder="​0"​ webkitallowfullscreen mozallowfullscreen allowfullscreen></​iframe>​
  
 +</​html>​
  
  
re-engineering-the-industry/oxberry/oxberry-index.1510145796.txt.gz · Last modified: 2017/11/08 12:56 by esther