OPTICAL PRINTING WITH THE OXBERRY 1700
Get to know LIFT's optical printing powerhouse!

Schedule:
Monday, July 19th, 6pm - 10pm
Monday, July 26th, 6pm - 10pm
+ 4 hours of work time

Cost:
Members $75
Non-members $95

Enrollment is limited to 5

Welcome to the world of the Oxberry 1700 optical printer. This machine was a film industry workhorse - not so long ago - when mattes, dissolves, split-screens, etc. were always done the optical way. A step up from the JK printer, the Oxberry is a precision instrument, capable of producing an amazing range of optical effects in 16mm or 35mm. This course will introduce the student to the Oxberry 1700 step by step, covering the basic functions of the camera and controller, as well as techniques for arriving at precise exposures and balanced colour filter packs, fades, dissolves, multiple exposures, 16mm-to-35mm blowups or 35mm-to-16mm reductions, and step printing. Whether you're working in 16mm or 35mm, this machine can do it all, and this workshop will show you how.

The Camera Theory workshop is strongly recommended as a prerequisite.

This workshop includes an unsupervised 4-hour work session to be scheduled through the LIFT office. This time must be used before Thursday September 30th, 2010. Non-members must use their time during LIFT office hours (Monday-Friday, 10 am - 6 pm).

Instructor:
Chris Gehman is a filmmaker, curator and critic based in Toronto. His most recent film, Refraction Series, premiered at the 2008 Toronto International Film Festival (tiff), and won an award at the 2009 Ann Arbor Film Festival. Other films include Non-Zymase Pentathlon (1996), First Dispatch from Atlantis (1993) and the award-winning Contrafacta (co-directed with Roberto Ariganello, 2000). Chris was Artistic Director of the Images Festival from 2000 to 2004, and has also worked as a programmer for Cinematheque Ontario, tiff, and Pleasure Dome. In 2010 he taught Experimental Media at Ryerson University, and he has written extensively on independent animation, and is the co-editor (with Steve Reinke) of the critical anthology The Sharpest Point: Animation at the End of Cinema (YYZ Books, 2005).