(1) Aḷu – (2) On my dirty wings – (3) Otto in the cage – (4) Straying free – Randagi – (5) Final Destination – (6) That’s me – Io …more to come?….

This is meant to be a series of at least six 16mm shortfilms to be played live. The inner focus of the series is on the domestication process we all originated from as human beings. The same domestication process we still are experiencing in our relation with non-human animals and, more in general, with the world of beings that sorrounds us (including our own eyes and the way we look at this world and the materials we use to look at it, ie cinematic image).

That’s about the beauties and the cruelties that domestication and selfdomestication process brings to our lives and world.
Every single short film focuses on a different subject and uses its own experimental cinematic technique on any level: shooting, processing, editing, printing, projecting and producing sounds and noises.
Other than by a different way to work on the film at different levels, any of the six films will be accompanied by a different approach in live sound production (drowing and designing optical or magnetic sound, building new diy handmade photosensitive and magnetic electroacoustic circuits, hacking 16mm eiki and bolex or microtecnica projectors). In this way each film will be the departing material for a radically different live film concert in which the projector and the film itself are used as instruments to produce sound by modifying the cinematic image.
Please take a look at the table of subjects and techniques to have an idea of the differencies between the first 6 films. The first two of them (ie number 1 and 2) are ready done, other two of the six (ie number 3 and 5) have only been shot and processed neg, the remaining two (ie number 4 and 6) are still in pre-production, I’ll start them this winter 2022-2023.

ABOUT 70FPS: I’m using cinema (film shooting, hand processing, film printing, projections etc.) in order to play live concerts. The film in the projector is the material I use to produce live images and sounds that can affect my body and the bodies of the people around me. No finished product to sell, no movies to distribute – the movie exists only in the eyes and hears of the individuals who will be present at the moment I will play it. NO DISTRIBUTORS, NO COPIES – my films travel with me, they are my instruments together with my hacked projector and my DIY electroacoustic circuits. All of them are the result of my efforts and mistakes and I use them to stay and do something together with the people I meet.

BIOGRAPHYAndrea Saggiomo was born in Florence (Italy) in 1980. He’s living in Napoli since 1999. In 2007 he started experimenting as theater director and he founded his own theater group that produced two shows (“I canti di Maldoror” in 2008 and “I fiori d’Arancio” in 2009) both of which were awarded in italian theater contests (Nuove Sensibilità 2008 and Fabbrica Europa 2009). Both shows presented super8 film projections live on stage. In 2011 he founded with Gaelle Cavalieri a new impro- noise performance duo called ASTEPBACK as a way out from theater milieu going to underground noise experimental performance scene. In 2011 he also started the solo project 70FPS which consist of audio-visual noise performances using selfmade photosensitive sound devices alternatively applied to film projections or to video feedback systems . With this project he improvised and collaborated with musicians as Aspec(t), Andy Guhl, SEC_, Rico, Company Fuck and filmmakers and video artists as Seppo Renvall, Riojim, Botborg, MTK, Xavier Querel, Gaelle Rouard, COGNE ET FOUTRE, Abstral Compost. The first DVD by 70FPS, titled BUT YOU ARE was released on VIANDE records in 2012. An audio cassette by 70FPS cathodic set titled CAMPO CATODICO was released on archivio diàfonico in 2015. Recently he collaborated on a track with Rae and Billion o’clock released on LightItem BA7CH. He was one of the founding members of collective Ark-Film-Lab in Napoli and oraganized many expanded cinema and audio/video nights in 76A – Napoli, hosting many filmmakers, musicians and videomakers from abroad. Three years ago he founded PASSO_RIDOTTO, an individual artisanal cinelab selling processing and scanning cheap super8 films.

N.1 අළු – Aḷu

live film, 16mm sound, black-and-white (bleach-fix inversion), 2020, 15 min.

The inner focus of the series is on the domestication process we all originated as human beings.
B/W 16mm film hand-processed by bleach-fix inversion
Diy Optical Sound + Diy handmade photosensitive and magnetic electroacoustic circuits

trailer here: https://vimeo.com/user104004066https://www.youtube.com/watch?v=Yl_CaoMufUw

N.2 – On my Dirty Wings

live film, 16mm, sound, black-and-white, 2022, 20 min.

The inner focus of the series is on the domestication process we all originated from as human beings.
B/W 16mm film hand-processed, bolex-printed when filming the same subjects.
Diy Optical Sound + Diy handmade photosensitive and magnetic electroacoustic circuits

trailer here: https://www.youtube.com/watch?v=04r6yvBuYYQ


AbSTRAL COMPOST & Pascal Lopinat “Pineapple” new video-clip

Happy to share it with you:

Fourth video from the “AWKWARD THUMBS” EP

Shot and edited by 70 FPS

Shot with Kodak Ektachrome 100D super8 – Nizo Pro Camera and Zenith Quartz 1x8S – Processed in FilmStill E6 chemistry – HD transfer by passoridotto.org – Edited in Resolve using different effects

Exploring and using all my cameras defects and mistakes…

Hope you like it…

MUON S Anna Gaïotti Jean Bender

Very happy to share this teaser I filmed and edited about the dancework of Anna Gaïotti and Jean Bender: “MUON S”

Shot on FOMAPAN r-100 and Orwo N74 Super8 b/w films using PoseB on Nizo Pro camera.


A new clip for my friends AbSTRAL compost & Pascal Lopinat – Super8 flat print – some hand filtering during digital transfer – Soleil Puissant Soleil – Hope you enjoy…

Images super 8 : 70FPS
Texte, voix : AbSTRAL compost
Musique, production : Pascal Lopinat

Enregistré, mixé, masterisé par Pascal Lopinat au Glaucal entre 2018 et 2019.

De l’album “Bruits et babillardes”, Zer Cheun / Vernacular / Glaucal 2020.
Livret/album “Bruits et babillardes” en vente ici : pasvraiment.xyz





Esce oggi per la Light Item e la Solium Records la BA7CH

Molto contento di avervi partecipato come 70FPS…


Rap malatissimo con la partecipazione di

Billion o’clock (UK) , RAE (NL\IT), 70FPS (IT), VoidDweller (US), Mimmo Pompadour (Sicily), H!U (IT), Traître Câlin (FR), Wesqk Coast (IT), Parassit (IT), Manikineter (US), EKS (IT), Stelvio (IT), Base (US), Raskol Mekov(IT), Olbos (IT), Traître Câlin (FR), Helos (IT), Burla22 (IT), Mai Mai Mai (IT), Rico (IT)

BAM!BOX ORCHESTRA “It’s going to work out fine” new clip

Here is a music clip I shot in super8 for my friends BAM!BOX ORCHESTRA… Hope you enjoy it (also on youtube at: https://www.youtube.com/watch?v=oMcGzeVLwks)

AbSTRAL compost & Pascal Lopinat “Sur fil fragile des existences” new clip

70FPS “Ancora No!”

A digital preview of the last film by 70FPS “ANCORA NO!” is now on youtube.

It’s an hd transfer of the actual super8 film with the sounds recorded during a live performance in May 2019. Please note that this is only a digital preview: the actual film is conceived to be played live with a modified super8 projector and some electroacoustic photosensitive handmade circuits.



un film dal vivo di / a live film by 70FPS aka Andrea Saggiomo

(30 min, super8, b/w, 2018)

Una pellicola super8 sulla quale ho stampato manualmente (con la tecnica del rayogram) insetti e foglie insieme a ritagli di altri film. La pellicola non presenta una continuità lineare di fotogrammi; è un collage di immagini ed impronte. Nella proiezione (a velocità variabile) queste immagini si animano, entrano in relazione fra di loro, producono rumore: quella striscia inerte di immagini diventa un film nell’occhio di chi guarda lo schermo nel momento in cui guarda. Non c’è il film prima che qualcuno lo proietti e qualcun altro lo guardi e lo ascolti.

A super8 film on which I printed by hand (with the rayogram technique) insects and leaves together with other film clippings. The film does not present a linear continuity of frames; it’s a collage of images and footprints. When projected (at variable speed) these images come to life, they enter in relation to each other, they produce noise: that inert strip of images becomes a movie in the eye of the one who looks at the screen when he looks. There is no movie before someone projects it and someone else looks at it and listens to it.


Dal 2009 70FPS è un progetto di cinema espanso di Andrea Saggiomo, con il quale egli ha improvvisato e collaborato con musicisti ed artisti internazionali fra i quali Andy Guhl, Seppo Renvall, Riojim, Gaelle Rouard , Cogne et Foutre, Botborg e molti altri

Since 2009 70FPS is an expanded cinema project by Andrea Saggiomo, in the context of which he improvised and collaborated with musicians and international artists including Andy Guhl and Seppo Renvall, Riojim, Gaelle Rouard , Cogne et Foutre, Botborg and many others.

70FPS is Andrea Saggiomo: amplified super8 projectors, with prepared films, mirrors and photosensitive self-made electroacoustic devices

proiettori super8 amplificati, pellicole preparate, specchi e circuiti elettroacustici fotosensibili

A double screen super8 projection in which sounds are produced by the difference of contrast between the images on the films. The super8 projector, the film and the image are used as instruments to produce and modify in real time the light and, using some self-made photosensitive sound devices, the sound.

I’m trying to reflect on memory, actually my visual memory of my friends faces and movements. The film materials and the process of images creation gradually deteriorate… what remains of the images are some sort of ruins that eventually shine in my mind and produce noises….

Copertina DVD Andrù2

“…70fps is my camera highest shooting speed, the greatest number of frames per second i can afford, 70, and, viceversa, the greatest slow- motion i can afford in projection, the greatest slowness, because i’m slow. Speed and slowness get mixed up in a freak show, which does exist only in the real time of sight. A slow time of sight, because i’m also a little bit blind. Playing the image, playing the light and its cracks of darkness, using eyes like careful ears to try to listen to light…The super8 film becomes a neutral filter were to draw signs, scratches and spots that i can use, during performances, to play the light and to crack the image…”

The interaction system between sound and light encompasses the devices and the person who manipulates them. For this reason sound and light are intended as a matter to continuously manipulate and shape, in a perpetual and mutual modification: any action on a device produces a modification on the others. The super8 projector, the film and the image are used as instruments to produce and modify in real time the light and, using some self-made photosensitive sound devices, the sound.

Super8 films are prepared by scratching and patching, piercing and ink drawing to be used in a multiple projection at different speeds. The projection is then manipulated with glass, prisms, lens and mirrors. The projectors and their internal mechanics are also used as sound producing objects in relation with voice and electroacoustic stuff.


“…70fps è la più grande velocità di ripresa della mia camera, il maggior numero di fotogrammi al secondo che mi sonopermessi, 70, e viceversa il più grande slowmotion a cui posso arrivare in proiezione, la maggiore lentezza, perché io sono lento. Velocità e lentezza si mescolano in uno spettacolo da baraccone che esiste soltanto nel tempo reale dello sguardo. Tempo reale alquanto lento dal momento che sono pure mezzo cieco. Suonare l’immagine, suonare la luce e le sue crepe di oscurità, fare dell’occhio un orecchio attento, vigile, poter ascoltare la luce… La pellicola super8 che passa nel proiettore diventa non è che un filtro neutro sul quale tracciare segni, graffi e macchie che io possa usare nella performance come strumenti per suonare la luce e sgretolare l’immagine…”

Il dispositivo di interazione tra suono e luce ingloba gli strumenti e chi li manipola. Il suono e la luce vengono intesi come materia da manipolare e formare continuamente, nella perenne modificazione reciproca: ogni intervento su uno strumento produce una modificazione sugli altri. Il proiettore super8, la pellicola e l’immagine sono utilizzati come strumenti per produrre e modificare in tempo reale la luce e, di conseguenza, il suono, mediante alcuni circuiti elettroacustici autocostruiti che reagiscono alla luce. La pellicola super8 mm viene lavorata manualmente mediante perforazioni e applicazioni di china e inchiostro per essere usata in una doppia proiezione di ritmo mutevole. La luce e le immagini vengono filtrate dal vivo attraverso prismi e lenti, riflesse mediante specchi. I proiettori e le loro meccaniche interne vengono allo stesso tempo utilizzati come oggetti sonori ed entrano in relazione con la voce e la strumentazione elettroacustica.

A double screen super8 projection in which sounds are produced by the difference of contrast between the images. The images were filmed in Senerchia (Avellino, Italy), commissioned by FLUSSI media-art festival for a project focused on ‘water’ (AQUA MATRIX) and were originally intended as materials to play and improvise with musicians and other filmakers/projectionists.

An expanded cinema performance in which the light of two projectors and the films produce and modify sounds and noises in real time.
Images and movements on the films were originally produced working on a cathodic tv screen and a digital camera and then mixed in projection with other images shot directly on super8 film in order to produce some sort of short circuits between different technologies and in the same time some parallelism between different events.

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