Alain LeTourneau

The New Year

I've been spending the last couple of months unloading some piles of junk that have been accumulating at the studio. Seems like I move a pile out, and soon enough, there's another one ready to replace it. However, this time, I feel like there is some actual progress. The challenge of moving from 1450 square to 1050 has motivated a bit of downsizing.

I will be selling a number of things soon, odds and ends, from editorial equipment to projection, to my KEM flatbed, so let me know if you're looking for something.

We're also tearing out some defunct conduit and decommissioning some old plumbing. Brennan said he might be able to assist with the project when he returns from DC. I'll probably get the studio dialed in perfectly just in time to move everything to our new (planned) live/work space (6-9 months down the road).

It's sad that after 8 years of holding public screenings in the studio, the leaky roof final got fixed this past summer. This fix happened to coincided with our decision to stop screening at the studio. So, aside from the cold temperatures, the space is now perfectly dry and better suited for projecting to an audience. And I no longer have to cover equipment with vinyl tarps for fear of rain.

December 30, 2008  –  permalink

Documenting house project

I've been taking shots of the studio, and writing voice-over for what will become some kind of document of our house project. It's the first time I've shot color stock since college. It's a little foreign having to consider color temperature, but at the same time, nice to have the additional speed. The idea is to record our efforts to build a live/work space in North Portland, something which may in the end prove impossible. I do like the idea of working on something so close to what I do every day. The live-work space has occupied my thoughts daily for the last nine months.

November 24, 2008  –  permalink

Public funds for filmmaking in Oregon

In recent years, public funding opportunities for filmmaking in Oregon, those grant agencies awarding non-student projects, have consistently awarded individuals who work in the commercial field, many with long track records. In the case of non-commercial filmmakers being awarded, it appears that many are granted funds based on the individual's ability to finish a project, rather than the character of the work submitted.

It is nepotism and a perspective shaped by a commercial marketplace that is skewing the process. If a panel consists of people who do industry work (in some shape or form), how does the panel avoid the bias of projects needing to conform to market pressures in order to “gain an audience”, or take on a "professional look". Regarding grant funds, perhaps a lack of work that fits the criteria in a given grant cycle should allow funding agencies to retain funds and roll them into the next funding cycle, rather than throw money at projects that do not merit the support.

November 12, 2008  –  permalink

Lens solution for Eastman projector

I'm working with Walt and James to determine a lens fitting solution for the Eastman. I have an ISCO 35-65mm f1.3 and an old Bell & Howell 50mm f1.2, both of which I'm trying to fit to the Eastman's lens holder/collar. The lenses either have to be turned back by milling, a process which compromises the structural integrity of the lens (particularly the ISCO), or a new lens holder would have to be fabricated. The latter could be very costly if only making a single piece, but to make more than one could be useless, since I have no idea what the demand would be for such an item, low I would imagine. It really is the weak link of an otherwise perfect projector. In the meantime, I've been using a not-so-wonderful stock Eastman 52mm lens. It does not have the sharpness of the ISCO, so focusing the lens is nearly impossible, especially across the whole frame. Rather frustrating when trying to check focus on camera rolls.

October 27, 2008  –  permalink

Steenbeck 1901 arrives

Last week the massive crate containing my new Steenbeck 1901 arrived on the loading dock. The crating company did a remarkable job of getting the machine to Portland unscathed, very impressed with the work that went into packing this delicate, albeit heavy film editor. The 1901 is a late-model 01 machine having been manufactured in 1992, and it will replace my KEM Rapid. The 01 machines have a brilliant prism design which allows for a brighter, flicker-free image that rivals the generation of KEM machine I have. I'm really impressed by the image quality of the 01 machines. I'm still going over the machine and cleaning things up, mostly dust from having been sitting for so long unused, otherwise the machine is in almost pristine condition. I am currently waiting for a modified PCB to output bi-phase to Digi USD. The Steenbeck's sound tracks I'll likely use to check accuracy of sync, rather than for real editorial work, but I still have enough mag to allow some editorial use. I still enjoy cutting mag, and the way I work with simple location sound, the process is pretty straight forward, no D-M-E tracks, no complicated cutting of dialogue scenes.

September 06, 2008  –  permalink

LIFT donation arrived

Today, I received packages that comprise a recent donation to 40 Frames from the Liaison of Independent Filmmakers of Toronto, or LIFT. Big thanks to Heather Trawick for helping to coordinate the donation. It is a very generous gift that will support our projects as well as other local and regional makers. The donation includes an early version of Pro Tools, as well as a Panasonic 3700 DAT recorder to permit migrating our DAT library over to hard drive and CD-R.

July 11, 2008  –  permalink

New Steenbeck 1901

I've acquired a (still to be shipped) Steenbeck 1901 from a school in Dallas, TX. Been on the hunt for one for at least the last 4 years. Was beginning to think I'd never find one, and let a few get away. Considered going to Dallas myself to assist with crating, but have decided some fiscal conservancy is in order. I will be looking to move my KEM Rapid, which was purchased from its original owner several years ago. Anyone looking for one and lives in the NW or is willing to have it shipped, let me know. This second Steenbeck will give me a matched pair from roughly the same era with some of the same electronics and parts. All forms of insurance in the age of closed system, do-it-yourself flatbed maintenance. JK over at Harvard's VES program gave word that he has created a plug-in module for late-model Steenbeck machines (ending in 01) allowing the operator to output bi-phase to Sondor BIF or Digidesigns USD. Can't wait to take advantage of this option. Also, Dwight Cody at the Film Connection is offering a number of electronic upgrades to 01 models. If you're living in the NE, there's still some options for Steenbeck mods and maintenance. The NW has little to offer in this regard, one is forced to call for $ervice in Los Angeles

June 14, 2008  –  permalink

News from the film front

Several things have come to my attention as of late. First, a friend of mine reports that 16mm clear 3M perf tape has problems with new formula. Apparently, the white (sound) tape is ok, but the clear is not holding very well. 3M has little to say about the matter. American Film & Tape (or International Cinema Supplies) may have a better replacement, but I'm still awaiting word on this. My stock of old 3M should last me through the next few projects, but I'd like to know of a good replacement if one exists. Second, apparently EPA restrictions on perchloroethylene, aka PERC, aka "wet gate", has brought about a switch to several alternatives at labs and the results have not been good, in fact some reports say there are visible residues left on the film.

March 01, 2008  –  permalink

Cooke CVK service

I was hoping Charlie would give my CVK a clean bill of health, but apparently it's ailing a bit. Front focus issue was deep inside the lens... one of the elements was actually loose. Screw heads were stripped and interior dirty. The last person to poke around inside this lens did a hack job. Charlie is working on a s16 conversion for the lens, making it a 10.8-60mm T3. Also getting a new delrin cap made for the front to replace the not-so-good Cooke factory lens cap. I would ideally like to put an Aaton mount on this lens, for FFD accuracy and to keep the lens from sticking out so far from the mount, but I think I'll end up leaving it with its current B mount.

February 16, 2008  –  permalink

Seattle visit to service tech

I made a trip to Seattle recently to have a few lenses looked at by Charlie. After projection and collimation, we discovered my Cooke 9-50 was having front and back focus issues. The back focus shim was replaced and back focus corrected, but front focus he would have to address with more time at the bench. So, I'm waiting to hear back from Charlie hoping the damage is not too great. During the visit, I also compared several Angenieux HEC zooms Charlie had on hand, a 10-150 T2.2 and the 9.5-57 T1.8. Both were in good condition, though the 9.5-57 was in slightly better condition. After comparing these lenses to my 12-120 T2.1, I decided to stick with my lens for now. As much as I am eager to shoot with the 9.5-57 and get an extra stop of light to my eyepiece for focusing, I think the 12-120 may perform better and it's nice to have the range from 60-120. Before leaving the shop I purchased a few accessories, including a much needed 12V battery.

January 26, 2008  –  permalink

B/W neg back from Cinelab

Cinelab did a fine job processing and work printing the footage shot with Mark. They agreed to make the WP on their panel printer (which is set-up for wetgate) for no additional charge. What a rarity in an era of hidden costs and little charges at most every other lab. I'm very happy about what I have recently shot... the car work is smooth and the dusk-for-night turned out exceptionally well. I may in the end, opt for a gas station shot Pam and I did the night after working with Mark, as the sky was more dramatic and the composition more interesting.

January 03, 2008  –  permalink