Optical printing

Rephotographing film onto film, with a projector aimed into a camera, so images can be layered, slowed, recoloured or remade.

Technique · Two filmmakers in the guide

Hollywood built optical printers for titles, dissolves and special effects. Experimental filmmakers got hold of them, often second-hand, and used them to dig into the image itself: repeating a frame, combining strips, pushing colour and grain until a picture becomes a texture.

Pat O'Neill built his own printers and layered landscapes, found footage and animation into dense, funny composites; his distributor, Canyon Cinema, says the work anticipated digital imagery. Phil Solomon used the printer to make chemically treated footage crack and crystallise.

Films to start with

In the order they were made. Runtimes are approximate.

  1. A still from 7362.

    7362

    Pat O'Neill · 1967 · 10 min · 16mm, black and white and colour

    Live footage turned by optical printing and solarisation into symmetrical, Rorschach-like abstract animation. Joseph Byrd wrote most of the music.

  2. Still from Remains to Be Seen to come.

    Remains to Be Seen

    Phil Solomon · 1989 · 18 min · Super 8 and 16mm, colour

    An operating room, a waterfall, a home-movie picnic and the Great Plains, treated until they blister, set to the sound of a respirator. It is dedicated to his mother.

  3. A still from Water and Power.

    Water and Power

    Pat O'Neill · 1989 · 57 min · 35mm

    A portrait of Los Angeles and of the Owens Valley, drained for the city's water, built from layered and composited images. It won the documentary Grand Jury Prize at Sundance.

Where it led

Lines from these films into work you may already know.

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