Rivers, First Draft: The Debauchees dance in place, and the Woman in Red catches up to them
Edition of 8 with 2 AP
16h x 20w in
Courtesy Alexander Gray Associates, New York
© 2015 Lorraine O'Grady / Artists Rights Society (ARS), New York)
Built in England’s Shepperton Studios, Alpha Grip has designed the first of a series of mobile film processing laboratories. Alpha Lab's 44-foot trailer showcases how mobility in film processing is providing flexibility to filmmakers who choose film. This high-tech facility allows filmmakers to process film on location eliminating the need for daily couriers. It is capable of processing 20,000 ft of film during each 8-hour shift. Alpha Lab works in conjunction with digital dailies companies so the director will know if they got their shot before they leave the location. All chemical waste is collected and disposed of offsite.
Take a look inside the trailer:
Happy 50th Birthday Super 8!
We’re celebrating a very special birthday this year – Super 8 is turning 50!
The 68th Cannes International Film Festival Hits the Croisette!
Filmmakers are pouring in from around the world for the 68th edition of the Cannes International Film Festival. The festival begins May 15 and runs until May 24, filling the sun-soaked streets by the Mediterranean Sea.
Kodak’s long history with Cannes continues this year, as several of the festival’s films were shot on Kodak, including:
Filmmaker Tasha Waldron uses the Bolex Camera
In the late 1980s, in Ottawa, Canada, 12 filmmakers driven by a passion for, and a dedication to, emulsion-based independent filmmaking began The Independent Filmmakers Co-operative of Ottawa Incorporated (IFCO). IFCO is the youngest of nearly 13 film production centers across Canada, but its vigor in promoting and ensuring comprehensive film training for its members is as strong as ever.
“We believe that there are ample resources for digital artists and producers,” says IFCO Executive Director Patrice James, “and so as our mission, vision, and values dictate, we will continue to create opportunities whereby emulsion based filmmaking is proliferated. We’ve only included digital in post and projection, but not in production.”