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Ben Graham is considered the father of 'value investing' - a strategy of screening for companies whose share prices do not reflect their asset backing and dividend streams. He believed that a bargain share is one where net current assets less all prior obligations exceeds the market value of the company by at least 50 per cent.

Trotzdem haben wir von Anfang an Dozenten, Filmemacher und Gastkünstler bezahlt.

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Kodaks Bestände sind aber nach eigenen Aussagen erheblich und würden bestimmt noch zehn Jahre reichen. Später wolle man diesen essenziellen Baustein des Analogfilms dann bei Dritten zukaufen, wie es heute auch schon andere Filmhersteller tun.

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So kam ich darauf, die Filme urlaubsübergreifend immer mit meinem Namen zu beschriften und die Nummerierung durchgängig fortlaufen zu lassen. Am besten druckt man sich also genau die Buchstaben aus, die man zur Zusammensetzung des eigenen Namens braucht und zwar genau in der Reihenfolge, in welcher sie benötigt werden. Es ist zwar verlockend mehrfach vorkommende Buchstaben z.

Das erspart lästiges Hin- und Herblättern beim Abfotografieren. Bevor man sich aber ans Ausdrucken macht, sollte man überlegen, wie die Buchstaben und Zahlen auf dem Film liegen sollen. Soll die Perforation unten liegen, wenn man den Film aus der Spule heraus zieht, oder oben?

Diese Parameter entscheiden, wie man die Buchstaben ausdrucken und in welcher Reihenfolge man sie abfotografieren muss. Man kann da nämlich leider auch einiges falsch machen. Dann sind die Buchstaben spiegelverkehrt, oder kommen in falscher Reihenfolge. Es gibt insgesamt 8 Möglichkeiten, von denen aber nur 4 wirklich sinnvoll sind. Soll die Leserichtung der Schrift aber entgegengesetzt der Transportrichtung im Projektor sein, muss man die Buchstaben in umgekehrter Reihenfolge abfotografieren.

Es wird empfohlen am Drucker den beidseitigen Druck zu deaktivieren. Bei beidseitiger Bedruckung muss man das Heft beim Abfotografieren für jedes Einzelbild neu positionieren. Das macht die Sache unnötig kompliziert. Jedes Blatt wird nur auf einer Seite bedruckt und auf jeder Seite steht nur ein einziger Buchstabe. Nach den ganzen Buchstaben erfolgt der Ausdruck der Zahlen 0 bis 9.

Jetzt wird die obere Kante des querformatigen Stapels gebunden. Dazu gibt es mehrere im Handel erhältliche Systeme. Ich verwende für solche Sachen gerne die ibiClick-Bindung. Aber natürlich geht auch nahezu jedes andere System. Und dann legt man eine Kassette in die Kamera ein, filmt zur Sicherheit eine Sekunde irgend etwas zur Überbrückung des Burn Outs am Filmanfang , und dann stellt man die Kamera auf Einzelbildaufnahme und fotografiert je Blatt einmal — so lange, bis man den Namen durch hat und bei der fortlaufenden Nummerierung muss man dann eben in den Zahlenseiten herumblättern und sich Bild für Bild seine Nummer zusammen belichten.

Dann verfahre man wie in Fall A, aber mit dem Unterschied, dass die Buchstaben beim Abfotografieren erstens spiegelverkehrt ausgedruckt sein müssen, zweitens quer auf dem Bauch liegen müssen, also mit Blickrichtung nach unten und drittens der Buchstabenfuss auf der rechten Seite sein muss.

Alles andere läuft wie oben beschrieben. Ich wende diese Methode seit einiger Zeit an und bin sehr zufrieden. Ein Kassettenanfang von mir sieht üblicherweise meist so aus:. Es reicht, wenn es im Betrachter lesbar ist:.

Danach reisst man den 1. Die zweite Kassette wird am Anfang mit dem 2. Januar kurz abgefilmt wieder querliegend und so weiter. Man darf jetzt nur nicht mehr als 31 Kassetten in einem Urlaub verfilmen. Wohl jeder Selbstverarbeiter kennt das — einer der hakeligsten Schritte bei der Entwicklung mit dem Lomo-Tank ist das abwickeln des noch nassen Filmes auf die Trockenvorrichtung der Wahl.

Die nasse Emulsion flutscht nicht sonderlich willig aus ihrer Spur und gerade die Inneren Lagen bewirken beim Abwickeln doch eine beachtliche Beschleunigung der schweren Spindel. Das hat nun ein Ende: Ich habe mir eine kleine Abwickelhilfe erdacht, die man mit wenig Geschick in einer halben Stunde nachbauen kann. Zunächst schiebt man den Schrumpfschlauch auf den Spindeldorn und schrumpft ihn mit dem Heissluftföhn so, dass er eine schlüssige Aufnahme für den Spindeldorn wird.

Anschliessend befestigt man diese Aufnahme mit Powerknete zentrisch im Kugellager. Nach deren Aushärtung sollte man noch mit Epoxydharz verfüllen, um die Scherkräfte besser aufzunehmen.

Dabei darf natürlich keine Kleber ins Kugellager gelangen! Im zweiten Schritt befestigt man das Kugellager auf dem hohlen Handstück Auch hier wieder: Zwei-Komponenten-Kleber ist sehr gut geeignet. Nach der letzten Wässerung lässt sich die gesamte, beladene Lomo-Spirale jetzt einfach kopfüber auf das Handstück stecken und der Film sich ohne Kraftaufwand und wechselnde Zugbelastungen abwickeln.

In love with Super 8, in love with their local community and in love with each other: Thanks to the Center, kids from their multicultural neighborhood have become the next generation Super 8- and 16mm filmmakers. And their filmmobile takes their film activism to the next frontier. We have been doing free classes for teenagers in the neighborhood since the Film Center began.

All the equipment is provided for free, the instruction, anything to do with the classes if free. And it is such a great learning tool because they are forced to really think about their craft and their art and their ideas. Some of these students fall in love with film and that is their focus for the rest of their lives. But everything that they gain through the process helps them in whatever they do: We have these group meetings, with all the families and the neighbors.

In the end, we always show the film. Everyone has to bring food. And there are so many different cultures, people from El Salvador, from Mexico, from Vietnam, and they bring cultural dishes from their communities.

We share, we watch the film, and it becomes this social endeavor. My father had a voracious appetite for Super 8. As a kid, watching those films, I was socialized with the beauty of this. But I only bought my own first camera when I was eighteen, at a garage sale, a Eumig. It was in mint condition. This Persian gentleman in Los Angeles was selling them still in the case and maybe used once.

And that was when I said that not only I can appreciate looking at this, I can make it, and ended up doing it for more than 22 years. He was doing film, I was making music, touring with a punk band all over North America. And then we met. Everyone can join in and be a part of and get excited about. I found my first Super 8 camera in a thrift store in Joshua Tree. You can find, and immediately you can get going.

It seems very welcoming to people. You validate your own creativity, in a sense that you have a Super 8 camera and, boom, you make a movie. In punk, you have a guitar, you know three chords, you make a song. Would you say that this has changed? In the 80s and maybe still in the 90s, the easy way to start music was to pick up a guitar and learn three chords, or pick up a Super 8 camera and make a film. But to just quickly shoot things, you would nowadays use a cheap video camera.

Can it still be punk? We try to keep it as the punk aesthetic. But I agree with you: But we do believe that there is something irreplaceable about Super 8. There is this return to craft in all forms, things that are made with your hands, things that are made with the community.

People are hungry for that. When people were shooting in Super 8, whatever, first 8mm in the 40s and 50s and then, since 65, Super 8, it was still more like family videos. And in the 80s it became once again like an outsider art because people were shifting towards video. Our students get very excited about it. They talk about it in these ways: And they have this real desire to continue to explore that craft. So would you say that Super 8 culture has gone full circle, that it is now becoming one with the old amateur culture.

The punks were anti-establishment, and the typical punk filmmaker would be the anti-family filmmaker, but now they are one family? Workshop film from Echo Park Film Center: West Coast Noise by Felix Martinez. On the one hand, you do sociocultural work, but on the other hand you are also internationally known as a workspace for experimental filmmakers. How do these two sides match? For me, there are more similarities than differences. Our artist-in-residency program invites well-known artists from all over the world.

They come, and they do their practice. And they are inspired to see a new generation adopt these tools. And the kids, they think: I think that we are one of the few cinemas that encourages people from all walks of life to come and participate. Most cinemas are catering to a student audience, some sort of intelligentsia. We even had people come by and say: We have some kids now who are in pretty prestigious art schools.

Super 8 students in front of Echo Park Film Center. I think teaching is relative. We were talking about Super 8, but for us there is a strong relation between 16mm and Super 8. We shot this city symphony film which I was talking about, very pristine, you know…. There are so many choices nowadays that you have to illuminate these things or people will never find them. We are bombarded with so many gizmos and gadgets and things to do that I think we shine a light on things and say: Here it is, now take it and do what you will with it.

Our teaching style is very open. We work within a framework, but within that framework, they have complete freedom to create things. We also tried to incorporate learning that lets people understand film history.

And then we introduced them to 16mm technology. None of them had ever shot it, none of them had ever seen 16mm film, and they were sent out to create a 24 hour meditation on Los Angeles. There were about 48 students. They were paired up, each student chose an hour of the day, and they were given up to two rolls of 16mm film. It had to be black and white, and they had to select a portion of the city that they thought represented L.

Obviously, it was silent, they each worked on their minutes. Each hour was condensed into a minute, so it ended up being a 24 minute film. It started at midnight, finished the following midnight. We had a live score provided by a local experimental ensemble. It had its debut in a large theater in Downtown Los Angeles.

It was just completely magical. The majority of our staff works volunteer. However, since our inception we have always paid teachers, filmmakers and visiting artists. We feel it is important to nurture the system and reward those who are making work.

The funding stream in the US with non-profits — or NGOs as you may say — come mostly from foundations. We get most of our funding from large foundations that by-law need to give a percentage of their funds to groups working in the community. We also get grants from the government. However, that is a tiny percentage, maybe ten percent. We rent film and video gear and do repairs.

That creates some funds, maybe twenty percent. Lastly, we charge for the cinema events and that raises maybe twenty percent. In the beginning it was struggle as we had no money and had to always hustle for some dough.

However, now we have built a name for ourselves in Los Angeles and people truly appreciate what we are trying to do. So bit by bit we are able to get funds. Never a lot but always enough. You also run the filmmobile. Did you feel that it was not sufficient to stay in one space? The idea came from Lisa. We are doing what we are doing, and we can reach more communities, so what if we became itinerant.

When the Film Center started, every students was really from the surrounding blocks. Now, we have kids coming from far away, being two hours on the bus to reach us. So the bus serves that purpose. Some of the workshops we do at the bus last literally an hour, and we set up direct animation. We are on a picnic table outside in the park, set up a long strip of film, everybody works on it, an hour later we watch it.

We tore away all the seats. If we have a very small group, we can work on the bus, if we have a larger group which is normal, we do it in a classroom or a church basement or an afterschool anywhere. We are in process of buying second bus, a hand-processing truck.

Then we will have the Filmmobile which teaches the workshops, and the hand-processing bus that can go together. So you can run around, shoot Super 8 and, go into this light-tight bus, process it and then watch it the same day. We also use the bus for a screening series where we show films in a location where they were originally shot. So we park it somewhere, put the screen out and attach it the outside of the bus, set up a projector and show it right there.

Once we used the bus for a guerilla screening on Hollywood Boulevard. There we were at the heart of the Hollywood machine, and we were taking it back.

We were showing films from inside the bus, and people were walking by which was a powerful moment. A last but inevitable question: What are your favorite Super 8 cameras? But then, I became obsessed with Canon, and now Nizo is what we are using often. Eine Liebesbeziehung mit Super-8, mit ihrem Wohnviertel und miteinander: Das technische Equipment, die Betreuung und alles nötige Drumherum ist kostenlos.

Super-8 ist ein fantastisches Lernmittel, weil es sie zwingt, genau über ihr Handwerk, ihre Kunst und ihre Ideen nachzudenken. Es ist nicht diese sofort-fertig-Kultur, an die wir uns so gewöhnt haben. Einige unser Schüler verlieben sich in Film und bleiben dabei den Rest ihres Lebens.

Für andere ist er nur ein Zwischenschritt zu etwas anderem. Aber alles, was sie in diesem Prozess gewinnen, hilft ihnen später bei dem, was sie tun: