This film was a test of an idea for bi-pack shooting. I used some outtakes from Trigger Happy and had a positive and negative high-contrast print made. I had access to an Oxberry animation camera which had the ability to shoot “bi-pack,” which is to say two strands of film could be loaded into the camera gate at the same time, sandwiched together. By shooting through the black-and-white high contrast film, I could use it as a sort of filter, or contact print. This lets one fill in all the white or clear areas of the film with whatever artwork was under the camera. By shooting the same raw film through the negative and then winding it back and re-shooting it through the positive, I could replace both the black and the white of the film with whatever was on the stand. It was done very quickly in a spontaneous exploratory way. The resulting film test, one hundred feet of 16mm film had the original Trigger Happy outtakes now colored very vividly.
0.0/10This film was a test of an idea for bi-pack shooting. I used some outtakes from Trigger Happy and had a positive and negative high-contrast print made. I had access to an Oxberry animation camera which had the ability to shoot “bi-pack,” which is to say two strands of film could be loaded into the camera gate at the same time, sandwiched together. By shooting through the black-and-white high contrast film, I could use it as a sort of filter, or contact print. This lets one fill in all the white or clear areas of the film with whatever artwork was under the camera. By shooting the same raw film through the negative and then winding it back and re-shooting it through the positive, I could replace both the black and the white of the film with whatever was on the stand. It was done very quickly in a spontaneous exploratory way. The resulting film test, one hundred feet of 16mm film had the original Trigger Happy outtakes now colored very vividly.
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