First Colour Rayogram Tests

March 20, 2013 § Leave a comment

From Expanding Cinema workshops with Alex MacKenzie, Oct 2012 – March 2013, Cineworks Annex, Vancouver.


Photos from Expanding Cinema with Alex MacKenzie

March 20, 2013 § Leave a comment

EXPANDING CINEMA was a series of workshops organized and facilitated by Alex MacKenzie down at the Annex space between October 2012 and March 2013.

Taking a hands-on approach to the materiality of cinema, these workshops will demystify and dismantle the filmic process with a focus on expanded cinematic forms. From projector modification to film manipulation, MacKenzie will be leading each session customized to participant interests and shaped by their input. Over the course of several months, this series offers the potential to produce singular and collaborative works or installations to be presented in the new year. This is a hands-on conversation where the practical and theoretical are blended at the discretion of participants. Come with ideas, or come to be inspired. All skill levels welcome.

Potential zones explored, fused, and cross-fertilized included:
· Expanded Cinema: apparatus and methodology
· Handmade Emulsion: Creating Black and White Film Stock From Scratch
· Black and White Hand Processing
· Colour Hand Processing
· Cinema Rayograms (Photograms)
· Alternative Contact Printing Techniques
· Shooting, Processing. Editing, and Screening Super 8
· Operating the 35mm/16mm Steenbeck flatbed editor, conversion to contact printer, projector, etc.

Bio: Alex MacKenzie is a Vancouver-based experimental film artist working primarily with analog equipment and hand processed imagery. He creates works of expanded cinema, light projection installation, and projector performance. His work has screened at the Rotterdam International Film Festival, the EXiS Experimental Film Festival in Seoul, Lightcone in Paris, Kino Arsenal in Berlin and others. Alex was the founder and curator of the Edison Electric Gallery of Moving Images, the Blinding Light!! Cinema and the Vancouver Underground Film Festival. He was an artist in residence at Atelier MTK in Grenobles, France and Struts Gallery/Faucet Media in New Brunswick. Alex co-edited Damp: Contemporary Vancouver Media Art (Anvil Press 2008), and interviewed David Rimmer for Loop, Print, Fade + Flicker: David Rimmer’s Moving Images (Anvil Press 2009). He was an Artist in Residence at Cineworks’ Analog Film Annex in Vancouver, where he developed Intertidal, an expanded cinema work. He recently completed commissioned films for PopFilm Montreal and the WNDX Situated Cinema project.

Below are photographs by Zoe Kirk-Gushowaty, 2013.
IMG_1444 IMG_1448IMG_1450 IMG_1453img_1459

Q+A With Cineworks Workshop Instructor John Woods

December 14, 2012 § Leave a comment


This afternoon I had to opportunity to ask John a few questions about himself and his upcoming workshops:

CP: Besides teaching workshops at Cineworks, what do you do?
JW: I work in the film industry in town, specializing in sequels and talking dog movies.
CP: If you had a motto, what would it be?
JW: I can do anything you want, all it will take is time and money.
CP: Who is your film role model?
JW: Too many to choose from! But I like how Werner Herzog is able to move between features and documentaries while still being able to make films that are distinctly his own.
CP: What is the movie that made you fall in love with film making?
JW: A lifetime ago a good friend bought a bizarre device called a laserdisc and showed me his then favourite movie, Clerks, which had a commentary track on it. Listening to the commentary I learned that the movie was basically made by a bunch of friends and that sounded like something fun to be a part of. Prior to that I hadn’t really thought that it was possible to make films without a cast and crew of hundreds.
CP: What is your favourite theatre in Vancouver and why?
JW: The Rio is my local theatre and I enjoy their programming and midnight shows but The Ridge is the most beautiful single screen theatre left in the city. The art deco design gives the place atmosphere and makes it feel like I’m really going out for a night on the town rather than visiting a very large living room. Plus its one of the few left in town that still projects 35mm prints.
CP: What made you decide to stick with film?
JW: Partly laziness on my part to keep up to speed with the rapid evolution of digital formats. I certainly like to edit digitally where I feel that you can work with images in a manner similar to how your brain works, but an image on film is more like how memory works. It can be fuzzy, unstable or damaged, but surprisingly sharp and beautiful in way that is better than how it really was.
CP: What exactly is a JK printer?
JW: Its an optical printer that was popular in the 70s and 80s with schools and independent filmmakers for creating optical effects like titles, fades and mattes. They originally cost a few thousand dollars and can fit on a table, prior to this an optical printer needed an entire room and were custom builds costing as much as house. The JK made it possible for people outside of the industry to access effects that required Hollywood level money just to rent the machine.
CP: Besides transferring film to video, what kinds of cool things can the JK do?
JW: The best comparison is that an optical printer does for cine film what a photographic enlarger does for stills. If you’re really dedicated you can do all those old school special effects like they did on Star Wars. What I find more interesting is how it allows you to experiment with alternative processes. You can use oddball lab stocks to create extremely contrasty images, or embrace generational loss by making excessive copies or do extreme blowups that create wild, swirling grain. I feel that today the best reason to work with film is to embrace all the faults inherent with it and create something that looks different. Someone who likes deliberate, methodical work will find this type of process enjoyable. A person that is patient and not be afraid to make a mistake will enjoy this workshop.
CP: Once I take these workshops, what kind of skills will I have?
JW: People short on money but long on time will have a way to get high quality transfers. Filmmakers interested in arcane analog practices, will learn how eliminate the lab from the equation and be able create unique works afford-ably on film.

John Woods has been a Cineworks member since 2003. Currently working with alternative film processes with Super 8 and 16mm film, John’s work has been screened across North America and Europe. He knows no one famous.

There are 2 upcoming workshops with John:

Learn how to setup & maintain the printer, basic principals of digitizing film and how to use the resulting computer files in their digital post-production workflow.

Tuesday, January 22, 6 p.m. – 9 p.m. Limited Spaces available.

$40 Members, $60 Non-Members.

Introduction to 16mm Optical Printing with a JK Printer

Saturday, January 26, 12 p.m. –  6 p.m. Limited spaces available.

$80 Members, $120 Non-Members

Special rate of $100 if you register for both the digital and analogue workshop for all Cineworks members!

Check for more information.

Thanks to  John Woods for his time!

Behind the scenes from the first EXPANDING CINEMA workshop

December 6, 2012 § Leave a comment




Thanks to Cineworks member John Woods for these photos from Alex Mackenzie’s ‘Expanding Cinema’ workshop. Pictured: Alex, Amanda T and Ariel K-G

EXPANDING CINEMA is an extended workshop series with film artist Alex MacKenzie exploring performance-based film practice. Taking a hands-on approach to the materiality of cinema, these workshops will demystify and dismantle the filmic process with a focus on expanded cinematic forms. From projector modification to film manipulation, MacKenzie will be leading each session customized to participant interests and shaped by their input. Over the course of several months, this series offers the potential to produce singular and collaborative works or installations to be presented in the new year. This is a hands-on conversation where the practical and theoretical are blended at the discretion of participants. Come with ideas, or come to be inspired. All skill levels welcome.

Workshops are every six to eight weeks, Monday and Tuesday nights from 7-10 pm.

2012: October 29/30, December 10/11.  2013: January 28/29, March 18/19.

Price per session: $30 Members/$50 Non-Members

Full registration: $175 Members/$300 Non-Members

To register please call 604.685.3841 M–F (noon to 6 pm)

Advance registration is required. Limited capacity. Waiting lists will be available.

Upcoming Cineworks Workshop: Producing

November 2, 2012 § Leave a comment


As the only art form that really blends business and creativity, making a film takes a lot more than just picking up a camera and plugging in a microphone.  Often the most baffling questions a filmmaker faces have more to do with how to raise funds and how to handle the ensuing tax situations than anything you’ll encounter on set. This two-hour workshop with accountant Debbi Jo Mattias aims to answer as many of the questions you already have and the ones you haven’t come up with yet.  Topics covered will include:

1.       Accounting for businesses
2.       Common business deductions
3.       GST/HST issues
4.       Review of income tax for self-employed individuals
5.       Incorporation issues
6.       Review of income tax for corporations
7.       Review of financial statements for corporations
8.       Companies for film producers
9.       Production companies
10.   Tax credit programs
11.   Eligibility tests
12.   Process for getting your tax credits
13.   Financing
14.   Budgeting
15.   Estimating tax credits
16.   Issues that impact tax credits
a.       Multi-owned companies
b.      Assistance (crowdfunding, producer loans)
c.       BC residency
d.      Producer fee and corporate overhead thresholds
e.      Foreign producers

Abput the instructor:

Debbi-Jo Matias is a proactive Chartered Accountant. She works closely with clients in the film and television industry, from producers to actors, to address their personal and corporate tax accounting needs. She provides audit and review engagements, tax returns, tax credit advisory services and claims, and acts as a liaison with CRA auditors, BC Film, CAVCO and other regulatory organizations. She has presented on tax credits and film accounting matters on behalf of the Canadian Production Media Association – BC Producers’ Branch, and to entertainment lawyers and film students.  Debbi-Jo is a member of Women in Film and TV Vancouver.  Before starting her own practice, Debbi-Jo developed her expertise through a career which began in Vancouver and carried her to New York, Toronto and back to Vancouver working for international and regional accounting firms with clients in music, film and television and owner-managed businesses.

November 21 7-9pm

Cineworks members $25  non-members  $40  Please call 604 685 3841 to book, space is limited

Upcoming Cineworks Workshop: Post Production

November 2, 2012 § Leave a comment


For a long time Final Cut Pro 7 was at the top of the heap for many professional and indie filmmakers when it came to cutting together their shows, but with Apple’s decision earlier this year to stop supporting FCP7 in favor of FCPX disappointing and alienating many long time supporters, what’s an editor to do?  If it’s time to learn a new piece of software do you go Avid Media Composer 6, FCPX or Premiere CS6?  What are the pros and cons of each system and is one better suited for certain kinds of work than the others?  Join Apple Certified Pro, Cooper for a workshop comparison  of all of these systems and go under the hood of FCPX with someone who’s actually knows the nuts and bolts!  Bring your questions, fears and war stories and we’ll see if we can settle once and for all who is king of the NLEs.


Cooper is an eminently qualified and highly experienced television and movie editor and colorist. With industry experience that ranges from; offline editor to online editor to colorist, post-production supervisor, editing supervisor and work-flow consultant. He’s earned credits from full length feature films, several shorts as well as television, documentary and news programs.

Cooper has significant experience teaching the technical aspect of editing and is known by the nick-name “Final Cut Coach”. He’s an accomplished post-production educator, deeply versed in all aspects of production and post-production. Including; editing, color correction, sound design, visual effects and compositing in; FCP-7, FCP-X, Motion 4, Color, SoundtrackPro, Compressor, After Effects and Avid Media Composer 6. If you’ve got questions about the tools professionals use to create the media of today, The Coach will find you the answer.

November 15 7-9 pm

$25 for members, $40 for non-members  Please register at 604 685 3841

Know Your Copyright

September 6, 2012 § Leave a comment


Are you an artist working in film/video? Are you or your collaborators working with samples, video clips, and/or making parody works or mash-ups?  If you are, you should ask yourself whether what you are doing is legal.

Changes to the Copyright Act have finally arrived in Canada. Come to this lunchtime session where we will demystify copyright and copyright changes that could affect your work and artistic practice.

Join us for this FREE presentation on the recent legislative changes (including Bill C-11) to your film and media arts by Vancouver-based lawyers Martha Rans and Lindsay Bailey.

Presenter Biographies:

A true believer in giving to the community and a passionate advocate for the arts,Martha Rans is a lawyer who has provided advice to artists in all disciplines for over 20 years. Following close to a decade as a labour lawyer and human rights mediator/specialist, in 2003 she established her own practice providing advice on employment, labour, human rights, privacy, intellectual property, governance, and charity law to non profit organizations, co-ops and social innovators of all kinds. In 2005, she co-founded the Artists’ Legal Outreach legal advice clinic in BC ( A recognized expert in copyright and its impact on artists she appeared before the Legislative Committee on Bill C-11 in March 2012. She teaches copyright to the next generation of artists and designers at Emily Carr University of Art & Design.

With a background in art history, pursuing a legal career as an arts and entertainment lawyer seemed like the natural progression for Lindsay Bailey. Lindsay worked at Bennett Jones LLP in Toronto, Ontario practicing business law with experience working with media, technology and entertainment clients requiring a range of business and intellectual law property services. During her years in Toronto, Lindsay volunteered at the Artists’ Legal Advice Service (ALAS) providing summary legal advice to artists of a range of practices. Since her years in Toronto, Lindsay has been instrumentally involved with Femmarte, a private art fund committed to supporting the careers of contemporary female artists practicing in Canada today, an organization for which she now sits on the Board. Lindsay returned home to British Columbia to build her practice here as an arts and entertainment lawyer and today through LBLC – Lindsay Bailey Law Corporation –  she works with a range of clients from diverse practices in all cultural industries. As part of her ongoing commitment to staying involved with and giving back to the local arts communities, Lindsay sits on the Board of the Cineworks Independent Filmmakers Society. She has become further involved with the local arts and film communities as a film producer of a local documentary, having produced the TV-length Generation Social: The Vancouver Network for broadcast by CBC in August, with another in development.

Know Your Copyright

Friday, September 28, 2012

W2 Performance Space (141 W Hastings, Inside the SFU Atrium, W2 Café, downstairs side door)

11:00am – 1 p.m.


First come first serve seating.

Organized by Cineworks & W2 and Co-presented by Western FrontVIVO Media ArtsMoving Images, and BC DOC.

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