PRIVATE PRODUCTION ARCHIVE · 1997—1999 · CLEANED EMAIL TRANSCRIPT

Let’s Get Medical

A 35mm medical nightmare made by Jon Tojek and Peter Juneau: first a line in a bio, then a midnight hospital operation, then two years of finishing, sound, submissions, and public life.

28 selected messages4 story stages1997 → 1999 production arclocal images and film files
THE PLACE BEHIND THE STORY

CalPacific Medical Center, San Francisco

Per Jon’s identification, the hospital was CalPacific Medical Center. Public history places the 1997 site at the former Pacific Presbyterian / CPMC Pacific Campus.

CPMC Pacific Campus
2333 Buchanan Street
San Francisco, CA 94115

Today the site is the CPMC Pacific Heights Outpatient Center. The current exterior photograph is included as a location reference, not as a 1997 production image.

Current exterior of the CPMC Pacific Campus at 2333 Buchanan Street
Current exterior view with the “Sutter Health CPMC Pacific Campus” sign and covered entrance. Source: Sutter Health facility page. Not a 1997 film frame.
THE PRODUCTION FULCRUM

The hospital night

Overnight July 12–13, 1997

This calendar window is an evidence-based reconstruction from the July 10 “this weekend” note and the July 15 post-shoot response. The archive does not contain one standalone sentence naming the date.

Lead actor: Scott Kaminski as Dr. Scott.

WHAT THE MAIL SAYS
July 7 · direct evidencePeter says Scott is off work at 7:30 and available.
July 10 · direct evidenceJon says they are filming the medical short “this weekend,” taking five people in scrubs into a live hospital at midnight with the 35mm camera.
July 15 · direct evidenceRobb asks “How was the shoot?” and says he is glad Jon pulled it off.
July 24 · direct evidenceRobb: “The hospital stuff looks awesome.”
CHRONOLOGY / 28 MESSAGES

A visible production timeline

Each marker jumps to a cleaned historical email.

01MAR–APR 1997

The premise gets a name

A medical nightmare begins as a line in an artist bio, then acquires collaborators, a camera, and a material world.

MilestoneThe film first appears in Jon’s public-facing bio.
WORK (failure)
The medical premise takes shape
The hospital set takes shape
Crew and cast between setups
01Chicago
message_01.txt01 / The premise gets a name
FromJon Tojek
ToStewart McSherry
SubjectHere is the BIO
Why it mattersThe project enters the bio as a 35mm medical short.
Cleaned historical message body

Stewart McSherry wrote:

bazter please email me a bio, it needs to be emailed to siggraph, they are hassling me

Allright here it goes.

Jon Tojek has been at Alias|Wavefront for the past 6 months working as an Application Engineer whose responsibilities include demoing and training people in all of the Toronto based companies 2D and 3D software. Visiting customers that range from ILM, PDI, and Rhythm and Hues doing high-end flim and video for the masses down to hungry start ups working in commercials and games such as Radium, Little Fluffy Clouds, and H-gun. Before this he was heading up the 3D department for a Full-service special effects house in Chicago called Post Effects.

This was a 60+ large scale post facility with a long history of effects and happened to be the first north american Alias entertainment customer. Here his first responsiblility was to build a team of animators and helm a department that included 7 SGI workstations inside a 9 bay environment. "It was at Post Effects that I learned the business of client relations, making quotes, management, and sacrificing myself on the alter of hard-core work," Tojek commented.

For two years before that he was once again in the corporate fold of Alias chicago doing the AE job and considers that to be the place where he did his most lasting work such as DevilBoy:Documentary on Clowns, and The UrbanWorm. Other stints include more animator work at CyberToons in Milwaukee, Electrical Engineering graduate from University of Wisconsin Madison, and relentlessly part time but obsessed electronic musician who scores all of his animations and videos. Currently his latest project is a 35mm short entitled "Let's get medical" which deals with his current interest in medical equipment and practices.

There you go sherry, Hows that for blowing smoke

JonT AliasWhore SF

02SanFran
message_02.txt01 / The premise gets a name
FromStewart McSherry
Toshane@protozoa.com, mariano@ix.netcom.com, jmariano@ea.com, nphilip@best.com, Jon Tojek, Deanan DaSilva
Subject(no subject)
Why it mattersThe April computer-art meeting gives the film a public context.
Cleaned historical message body

these are our respective bios. i edited them somewhat....(please forgive me)

please if you have time, check them out and tweak artistically. remember the focus of this meeting is computer art and us poor souls are somehow representing that.

woe are we !

Abstract artists in the bay area s.f. siggraph meeting APRIL 22nd

(jon please scrub thru this maybe some music stuff(i edited too much) and maybe a paragraph on devil boy if you want)

JON TOJEK

john tojek has a long distorted history in computer graphics, electronic music, and electrical engineering..

starting at the univ of wisconsin, where he received his EE degree, onward thru heading up the 3D department at Post Effects in Chicago, to today, working as a Applications Engineer for Alias|Wavefront in san francisco, jon tojek has disturbed friends and co-workers with his slick sick surrealistic brand of self-introspective filmmaking. he considers his most lasting work to be the film DevilBoy:Documentary on Clowns, and the UrbanWorm, which he completed while in working in Chicago. it is a statement on _____ and _____ ?

Currently his latest project is a 35mm short entitled "Let's get medical" which deals with his current interest in medical equipment and practices...

will show:

(joel maybe elaborate on your large body of experimental work and current efforts towards highend printing et al ?)

JOEL MARIANO

Born in the Philippines, Joel Mariano is one generation removed from the rice farm. He began living in the USA at the age of 6. Athough he grew up here, his childhood memories of the tropics have had an everlasting influence on his art in terms of movement, form, and color. As an undergraduate, he studied classical art in Europe--concentrating on Classical Greek Sculpture and the Italian High Renaissance. Double majoring in Fine Art and Journalism for his undergraduate studies, he was able to experience a firm foundation in drawing, painting, printmaking, and clay figurative sculpture.

His first exposure to seriously using computers to create art was at the California Institute of the Arts--where he got his Master of Fine Arts degree specializing in Experimental Animation. At CalArts from 1984-87, he played with real-time analog video graphics, and began exploring 3D animation systems. Tired of getting limited cubicomp time, Joel used his scholarship money to purchase an Amiga computer--this move changed his life.

Since then, he has realized that computer graphic imaging was a medium that allowed him to combine all his aesthetic interests. For the past 10 years, his focus has been on new ways of achieving aesthetic results that could only be made from this medium. His goal in his abstracts is to achieve harmonious compositions from a pure epiphany of colors and tones--devoid of ego--but spiritually fulfilling.

will show:

several examples and speak about current work

DEANAN DASILVA

(waitin)

digital illusion

will show:

(shane do you want to mention more about your own personal work)

SHANE COOPER

Shane Cooper studied computer enginering at the University of California San Diego, durring which time he worked at the San Diego Super Computer Center on numerous graphics intensive simulations and independent projects. Around then, he was also working in the science of particle physics at UCSD and the Stanford Linear Accelerator Center. He later moved to San Francisco, where he worked with George Coates Performance Works as a computer effects designer, creating abstract graphics applications to interact in realtime with actors live, on stage, and in 3D.

These works were showcased in the prestigious Spaleto Festival in South Carolina as well performed in Tokyo as part of the Intercommunications project funded by NTT. In San Francisco, he also worked on various projects for Silicon Graphics including some graphic effects work for motion pictures, and realtime visual effects for the Macy's Passport Fashion Show. He worked in Los Angeles with Silicon Studio LA developing live fully interactive realtime graphics performance software.

This is being used successfully by Graham Nash in his Lifesighs show, which he has recently performed in Atlanta. Shane Cooper currently works for Protozoa in San Francisco, developing realtime performance software for performing interactive virtual characters and sets for television broadcast and the web (see In his spare time, he creates more realtime abstract computer works for the SGI and PC platforms. He has many other interests that are less visual, and they include computer generated text, computer music, artificial intelligence, voluntary human control via computer, animal controled art, and the usage of real ant systems for solving problems.

will be showing:

if there is an o2:

if theres not:

nick philip

Born London England 29 years old Independent Animator and designer. Art Director of "UK skate" Magazine, Late 80's Moved to California 88 Bought Macintosh Computer 1990 Started Consciousness streetwear Lable Anarchic Adjustment Galvinzing West Coast Rave aesthetic/philosophy Founding Contributor to Wired Magazine Creator of T shirt Line "Shift" worked in Tokyo with animators at NHK Art Directed/ Illustrated Many experimental music projects for Independent Labels including astralwerks, Silent Records, Geffen Island Animation work has been featured on MTV music awards, AMP, C-Net, MSNBC, Entertainment Tonight, Next Step. Just Completed work on Orb Website for New release Orblivion and Interactive Music title "Radical Beauty" for Local record lable OM records

will be showing:

Radical Beauty, interactive music cd-rom project.

(I'll need a fast PCI bus Mac (8500 or

with 1000's

of cols display. 32 meg RAM and 250 meg Hardrive & Projector & Speakers)

stewart mcsherry

blobby boy. raytraced turds at eight.

born on the bayou. committed at 18.

kawaguchi wannabe.

a prolific hankering for troublesome relationships with friends, family, and esp. females. the triple F hex. voodoo priesthood at age 7. result: long history of hypnotizing corporate patrons to allow computer access to poor miserable voodoo self, in order to fill that void in his life called "email".

currently obsessed with shiny glowing objects.

03SanFran
message_03.txt01 / The premise gets a name
FromRobb Gardner
ToJon Tojek
SubjectHey
Why it mattersRobb offers lights, grip gear, animation help, and a string of practical questions.
Cleaned historical message body

Well it looks like i'm very close to getting my machine. I have a lunch meeting with a sales lady at RFX tommorrow to go over prices etc, and I will find out more then. I think an Impact is a little beyond my price range at this point so i'm probably going to go with an o2. Just out of curiousity i'm wondering how feasible it is to go ahead with what we talked about? Anyway let me know what's going on with your film.

If you need my help try to let me know a few weeks in advance if you can, I know that there are a few things coming up in April that I have to do on the weekends. I can definitely give you some grip equipment and I have that 3 piece 1K light kit. As far as animation is concerned let me know if I can help out there as well. April looks like a pretty bad month for me as far as the shooting goes.

What does Juneau think? Do you guys have a solid story yet? I'm trying to ask around to see if someone might be interested in doing storyboards.

What about Jon Whistler? Have you thought about doing them your self in like Photoshop or some other paint program? I take it Juneau is going to be your camera man. What kind of lighting are you going for?

Do you want gels for a theatrical look, or maybe more of a higher contrast film noir look? Or are you going for natural looking or maybe flatly lit? Color or B & W?

Are you going to scan the film at Tippett, or is this going to be all for video? I think this is probably enough questions to keep you busy for a while. Let me know what's up, talk to ya later...

02MAY–JUL 1997

The midnight hospital

The idea becomes an operation: scrubs, lights, a 35mm camera, hospital access, and the search for Dr. Scott.

MilestoneOvernight July 12–13, 1997 — reconstructed from the surrounding messages.
The doctor in shadow
Surgical instruments, ready for the take
Dr. Scott / the medical world
A surgeon in frame
04Chicago
message_04.txt02 / The midnight hospital
FromPeter Juneau
ToJon Tojek
SubjectRe: GUILT
Why it mattersFrame rate, scanning, and the first dark jokes around the medical premise.
Cleaned historical message body

I was just thinking more about the 24-30 frames per second issue. We had concluded that 24 frames per second will work fine but then I had a thought that this could now make our final output look slightly weird as the video tape will be 30fps.

We need to resolve this. Can we tweak it on the way out of Composer without too much hassel?

We could just shoot at 30fps, scanning rate isn't an issue since the scanner just creates files- the original capture speed is irrelevant at this stage.

What do you think. I like 24fps for it is less data to deal with, but I would not want a timing issue to make things look weird.

I hear you Sparkle boy.

It looks like I am scedualed for a StudioPaint 3D demo next Friday 5/23 for Stringer and whoever else wants. Bring your party hats.

Heckle city Maaamma.

This friday I am thinking about seeing Sneaker Pimps with A and William from Radium. Joao and a dude from toronto mabey also. Grab a ticket if you think you may want to go..

Perhaps.

No further news from joe but the plan is Saturday when the sun goes down we find him and take care of business at the hospital.

We need to recruit him for the ER wardrobe as well.

If the whole medical thing does not work out I was thinking we could just shoot some hardcore porn of Kat sucking you off at your old apartment. We could play up the little girl thing and have her wear a little school dress, ponytails, and high pitched voice. 35mm film of that action would make us some cash.

Is Alaina keeping you at bay again Jonny.

I am listening to Dr. Octogon to get in the mood.

So you checked him out- good. I will not do this project with you until you see Dead Ringers.

I have a running file I update every day as we chew on this.

The love.

GUILT

A Chicago Packing Co. production

Preliminary Production Overlook

Camera: 1- 35mm Mitchell or Fries.

Full/1.85/tv groundglass Intervelometer/fps abilities? (24fps-scan/30fps-telecine) 1- 400' mag 1- 10 to 1 zoom (Cooke or Panavision) vs. set of primes 1- follow focus 1- matte box (filters?)/sunshade/french flag 1- tall/short? stix w/ head fluid or geared? Steady rig?

Misc.- 1- Minolta spot and incident meter

1- Small changing tent

Lighting: 2- tota kits (4 lights?)

?- Snoots ?- focal spots? ?- high watt bulbs (outdoor style to augment house practicals) misc. small flags, stands, gobos, duvateen

Lab: -Kodak 5279 (500t)

400'(apx. 4.4min.) roll= 210.80 1000'(apx. 11.1min.) @ .517 ft.= 517.00

Developing- .19 ft.

Dalies (timed to colour chart & grey patch)- .34 ft.

Telecine? (if no scan)

Post: -Sgi or tiff?

Tracking markers?

Makeup: -In progress

blood?, rubber gut?

Location:

Misc.- Food?

Stopwatch? Van?$29.00

05SanFran
message_05.txt02 / The midnight hospital
FromPeter Juneau
ToJon Tojek
SubjectRe: Meat packing
Why it mattersThe working title “Chicago Packing Co.” gets its production swagger.
Cleaned historical message body

Boy I like the Chicago Packing Co. name. Good job on the Production overlook. I will have to print it out.

Wait til' Friday, as it will be flushed out a bit.

Tonight do you wanna see 5th Element? I am going with A and her Flame partner Annie to the 10:30 show at Cinema 21.

Sounds good, dinner and drinky-winks prior?

Since I do not have too much faith in the plot we will have to complement it with Valium and fermented cider beverages.

I have faith in pharmacology... . and you Sparkle.

OH GOD! HOLD ME NOW!

06SanFran
message_06.txt02 / The midnight hospital
FromPeter Juneau
ToJon Tojek
SubjectChicago Packing Co.
Why it mattersThe checklist grows: table color, surgical cloths, intercom, cast, camera package.
Cleaned historical message body

Dearest Jonny,

Some penance for your guilt.

Please ponder:

Sgi or tiff?

Tracking markers?

Joe -Table colour- green instead of white?

Surgical cloths to lay around incision area.

Low profile surgical caps.

Know how to work lights/machines!

Observatory intercom?

How many people can we ACTUALLY bring in? We need

to know for several reasons.

Actor? I have someone in mind. I think he would be perfect.

You met him one night- remember we stopped by the liquor store where he works out in the avenues. He's balding with disturbing eyes and meaty paws. He's a cross between John Malchovich, Jack Nicholson and Jim Carrey. He can be really animated and very intense. (He's nuts)

Actress?

I'm working on the other details and will phisically inspect our

camera package in the next few days. I spoke with Robb this morning about what he would be able to bring if he ends up flying.

07SanFran
message_07.txt02 / The midnight hospital
FromPeter Juneau
ToJon Tojek
SubjectRe: Chicago Packing Co.
Why it mattersThe production details turn into a real plan for people, lights, and walkie-talkies.
Cleaned historical message body

Dearest Jonny,

You are the greatest.

First of all thank you for the complement. You would know best.

That's odd, I don't remember the inclusion of "You are the greatest" in my original mail. Anyway.. . .

Joe -Table colour- green instead of white?

Surgical cloths to lay around incision area.

Low profile surgical caps.

Know how to work lights/machines!

Observatory intercom?

How many people can we ACTUALLY bring in? We need

to know for several reasons.

Details we should work out ourselves as much as possible. We may need joe for those lights, but ideally we should

I'm would rather not shoot with everyone wearing shower caps. If we can't find out for sure about the o.r. intercom we have to rent walkie talkie$.

Actor? I have someone in mind. I think he would be perfect.

You met him one night- remember we stopped by the liquor store where he works out in the avenues. He's balding with disturbing eyes and meaty paws. He's a cross between John Malchovich, Jack Nicholson and Jim Carrey. He can be really animated and very intense. (He's nuts)

Yea man lets take the guy out for a drink before we talk about it. I still think about traynor but I have not mentioned anything

We can stop by there any time- but I'll call him this week.

Actress?

That is another tough one. Mabey one of us if Joe has a person limit, we will just grab someone for the patient will not be very involved.

C'mon Velvet boy, I know you want a tender chickie?

Peace,

08SanFran
message_08.txt02 / The midnight hospital
FromRobb Gardner
ToJon Tojek
SubjectRe: Hey jag-off
Why it mattersThe first hospital material comes back with a vote of confidence.
Cleaned historical message body

Thanks! The hospital stuff looks awesome. Aren't you glad you have seasoned Cinematographers working for you. Ha! Anyway that frame looks exactly like it did when we were just standing there. Keep it up Jonny baby.

09Chicago
message_09.txt02 / The midnight hospital
FromFred P
ToJon Tojek
SubjectGot any Images or what?
Why it mattersFriends are already asking to see the hospital frames.
Cleaned historical message body

Jon T

whats the word. what are you doin? i havnt seen any shots from your hospital shoot, do you have any of those available? id love to check one out.

what happenin out in san fran?

talk to you later man

Fred

03MAR–MAY 1999

The long finish

The work survives the slow part: floor shots, sound, scanning, prints, tapes, deadlines, and the first web presence.

MilestoneThe finished work enters SIGGRAPH and Prix Ars Electronica.
A quiet beat between setups
Surgical detail from the scan
LGM image study 15
A pause between setups
10SanFran
message_10.txt03 / The long finish
Fromadrian
ToJon Tojek
SubjectRe: this sunday barbeque
Why it mattersLGM survives the social noise and keeps moving in the background.
Cleaned historical message body

Jon,

I'm sorry we didn't make it on Sunday, Violet and I we having a bad day. So how's LGM going? For grins check out this website I've been working on for a band that I've become a member of..

Later

Adrian

--Jon Tojek <> wrote:

Hello people,

This sunday 2/28 5:00pm

Sunday Pantry Barbeque and drink at Jon and Juneau house of 16 doors.

No real reason to celebrate, above and beyond the

11SanFran
message_11.txt03 / The long finish
Fromadrian
ToJon Tojek
SubjectRe: this sunday barbeque
Why it mattersThe floor shot is still alive; the film is moving, but slowly.
Cleaned historical message body

Jon, I think it's too late for Terminex! It's the Christal Methodists not related to the chrystal method. We actually have copyrighted material prior to theirs.. This group evolved from an organized effort to waste christian radio air time with prank phone calls. This album and the last New World Odour are the first to have music mixed in with the prank calls. The next album will be more of a departure..I'll be contributing the Digital Hardcore tracks on the next album and the tour projection video.

So is the BBQ thing going to be called alcoholic barbequers convention;-) I'll be there!

Later

Adrian

--Jon Tojek <> wrote:

adrian wrote:

Jon,

I'm sorry we didn't make it on Sunday, Violet and I we having a

bad

day. So how's LGM going? For grins check out this website I've been working on for a band that I've become a member of..

Later

Adrian

Thats allright,

12SanFran
message_12.txt03 / The long finish
FromSIGGRAPH 99
ToJon Tojek
SubjectYour SIGGRAPH 99 Online Submission Account Information
Why it mattersSubmission machinery begins, even if the account email is mostly administrative.
Cleaned historical message body

Your online submission account has been successfully created. You are now able to login, fill out forms, and upload materials.

Here is your account information:

Name: Jon Tojek

13SanFran
message_13.txt03 / The long finish
Fromstewart mcsherry
ToJon Tojek
SubjectPrix Ars Electronica 1999 (http://prixars.orf.at/english/indexe.htm)
Why it mattersStewart points Jon toward a more artistic competition and a deadline.
Cleaned historical message body

april 25 deadline. better for you than siggraph maybe. more artistic.

14Chicago
message_14.txt03 / The long finish
FromJoe Tojek
ToJon Tojek
SubjectOn the anniversary of the birth of Jon Tojek...
Why it mattersA birthday message connects the film’s dark dialogue to Jon’s life and voice.
Cleaned historical message body

Jon-

I'm thinking about you today, on your day, and celebrating the meaning of your birth and your life, which has meant so much to my life that I just want to tell you that I love you dearly in a way that dwarfs any understanding of the world that I have as of yet undertaken. Please know that you're in my thoughts and I'll try to get in touch with you later this afternoon.

Happy 30th!!!!

PS. Nice clip! I know you're enjoying pleasure from the power of creating meaning in the medium. Your quote is good but may be slightly oversimplified... I tried to fix it below, let me know if you like it... Is there any other dark dialog that needs to happen? I'll help if I can.

For ease of use and comfort to the daily thinker take every concept perceived herein and synchronously validate and oppose it with everything you believe to be true about yourself

Jon Tojek wrote:

How is the country living?

For ease of use and comfort to the daily thinker take every concept contained and believe it to mean the exact opposite.

Does this sound familiar? Do you mind if I spout this out at the beginning of Let's Get Medical.

15SanFran
message_15.txt03 / The long finish
FromSIGGRAPH 99
ToJon Tojek
SubjectSIGGRAPH 99 Online Submission Acknowledgement
Why it mattersThe finished title now has a formal SIGGRAPH submission record.
Cleaned historical message body

Your SIGGRAPH 99 Computer Animation Festival Submission & Authorization Form has been saved on the system.

Title: Let's Get Medical

You are free to review and make changes to your form up until the deadline on 7 October 1998 for Early Feedback Drafts, 10 February 1999 for Performance Proposals, and 7 April 1999 for Animation and Film Sequences.

REMINDER: Your submission is not complete until we receive your completed and signed Submission & Authorization Form. For complete submission instructions, see

16SanFran
message_16.txt03 / The long finish
FromPrix Ars Electronica
ToTojek
SubjectYou have submitted this entry for the Prix Ars Electronica 1999 (Computer Animation A-52)
Why it mattersThe Prix entry records the film as 35mm film and SGI computer work.
Cleaned historical message body

Jon,

You have submitted the following data:

First Name: Jon Last name: Tojek Comany/Institution: Title of the work: Let's Get Medical Year the work was created: 99 Hardware: 35mm film and SGI computer Length of the Animation (credits): 02:36 Length of the Animation: 02:43 Music information - title: Let''s Get Medical Soundtrack Music information - author: Jon Tojek

Please note your entry number if you have further enquiries.

Please use the following check list to ensure that all the required Enclosures are included with your entry:

a completed and signed entry form

the jury version tape clearly labeled (do not orget your entry number!!); length up to 5 min. or precise TC-times of a segment

6 stills from the entered animation (color slides)

photo/slide of the competition participant

biography of the competition participant

description of the entered animation (contents, concept, technical development, etc.)

To avoid errors, please be sure to label all enclosures so that it is clearly recognizeable which enclosures belong with which entries Entry deadline incl. accompanying material: April 25, 1999 (postmark)

Thank You very much for entering the competition. The Prix Ars Electronica Team

17SanFran
message_17.txt03 / The long finish
FromPrix Ars Electronica
ToTojek
SubjectYou have submitted this entry for the Prix Ars Electronica 1999 (Visual Effects F-12)
Why it mattersThe same film enters the Prix again under Visual Effects.
Cleaned historical message body

Jon,

You have submitted the following data:

First Name: Jon Last name: Tojek Comany/Institution: Title of the work: Let's Get Medical Year the work was created: 1999 Hardware: 35mm film and SGI computer Length of the Animation (credits): 02:36 Length of the Animation: 02:43 Music information - title: Let''s Get Medical Soundtrack Music information - author: Jon Tojek

Please note your entry number if you have further enquiries.

Please use the following check list to ensure that all the required Enclosures are included with your entry:

a completed and signed entry form

the jury version tape clearly labeled (do not orget your entry number!!); length up to 5 min. or precise TC-times of a segment

6 stills from the entered animation (color slides)

photo/slide of the competition participant

biography of the competition participant

description of the entered animation (contents, concept, technical development, etc.)

To avoid errors, please be sure to label all enclosures so that it is clearly recognizeable which enclosures belong with which entries Entry deadline incl. accompanying material: April 25, 1999 (postmark)

Thank You very much for entering the competition. The Prix Ars Electronica Team

18SanFran
message_18.txt03 / The long finish
FromRobb Gardner
ToJon Tojek
SubjectRe: Stuff
Why it mattersRobb turns the project toward files, prints, and practical delivery.
Cleaned historical message body

If you send me files make sure there rgb or jpeg and preferrably under a meg. You can most definitely make prints. Just tell me when you need them.

As far as tonight goes,I probably won't make it. I think i'm coming down with something. Give Paula a call and ask her if she wants to go.

P.S.-> Tell Juneau I sent mail to Sonia from PDI inquiring about his reel, I haven't heard back yet. What's up with Hawaii?

Later...

Robb G.

Jon Tojek wrote:

Robb Gardner wrote:

Hey, I was in a class from 5 to 8pm last night so I didn't get your message until this morning. How was Death Valley? Let's hook up.

There's a band I want to see next Monday at this club called the "Bottom of the Hill". The name of the band is "Mocket". Electronic stuff mostly, one of the guys in the group invented a phototheremin. It reacts

19SanFran
message_19.txt03 / The long finish
FromRobb Gardner
ToJon Tojek
SubjectRe: Stuff
Why it mattersThe film becomes a file, a print, and something that can travel.
Cleaned historical message body

Zip disk is no problem. That movie "Pushing Tin" that I just worked on came out in the theater last Friday. I might check it out tonight.

Jon Tojek wrote:

Robb Gardner wrote:

How was the weekend? Did you go ride horses?

Hello RG,

Yes we went to Pacifica, but the horses were a little ragged run-down and tied up, so we did not ride them. Instead toured around the white-trash

20SanFran
message_20.txt03 / The long finish
Fromstewart mcsherry
ToJon Tojek
SubjectRe: David Cronenberg's eXistenZ (http://www.existenz.com/frame.html)
Why it mattersFinal sound, the web page, and four submission routes become one machine.
Cleaned historical message body

jt use a PC with macromedia software or get someone like sonic or other babe to do the website for ya

cosmo is not really up to date unfortunately

good luck with the lecture series and prize winning tour

send me a video when you have it wrapped up and multiplied

(

stewart mcsherry wrote:

hey man how did you do on the deadlines

here is the new cronenberg supposed to have creepy effects

Pretty good so far stuart.

I am sending it all over the place now.

21SanFran
message_21.txt03 / The long finish
Fromstewart mcsherry
ToJon Tojek
SubjectRe: promotion machinery
Why it mattersThe self-promotion machine gets a name and a sense of humor.
Cleaned historical message body

i think dot slash or whatever its called is better than dfilm, you should have the link to it i tink

screw setting up your own website get some girl to do it for yuou

shane sez "heil stewart"

stewart mcsherry wrote:

heres a good one.

dont forget DFILM also thats also a great festival

shane is here now and he waves hello

-----------------------------------------

22SanFran
message_22.txt03 / The long finish
Fromjoao amorim
ToJon Tojek
SubjectRe: check tapes sound
Why it mattersEven the finished tape hits one more technical obstacle.
Cleaned historical message body

It is not working Tojo, you gotta get another VCR...I need to talk to you imediatly, call me at ...

-

++++++++++++++++++++++ Let's Get Medical

04JUN–JUL 1999

The film leaves the room

The short moves into user groups, screenings, parties, submissions, and the wider computer-art community.

MilestoneJune 17, 1999 — the Bay Area Maya User Group lists its long-awaited debut.
The production behind the public life
Local project still
LGM image study 25
LGM image study 27
23SanFran
message_23.txt04 / The film leaves the room
FromDeanan DaSilva
ToJon Tojek
SubjectRe: user group
Why it mattersA Bay Area showing opens the door to a Los Angeles user group.
Cleaned historical message body

Hey Jon,

Since you're showing LGM at the bay area group, you should also show it at one of LA ones. I'm not handling that one any but I could arrange it with Will.

BTW, I hear Rudy had some really cool master renderman shader he uses for everything. I'm helping Will setup and a Renderman page for lumis and that would be a cool one to put on there.

Is the whole of LGM online?

D

24SanFran
message_24.txt04 / The film leaves the room
FromRuieta Da Silva
ToJon Tojek
SubjectNext Bay Area Maya User's Group Meeting
Why it mattersThe June user-group listing gives LGM a public debut and a room.
Cleaned historical message body

Bay Area Alias|Wavefront UserGroup Presents The Making of "The Matrix"

WHEN: Thursday, June 17th, 1999 6:30 - 7:30pm - Social Hour (No, it's not going to be pizza again!) Eat, Drink & Mingle! 7:30 - 10:00pm - Maya User Presentations

WHERE: Fort Mason Center Landmark Bldg. A (Golden Gate Room?) Marina Blvd. at Buchannan St. San Francisco

PRESENTATIONS:

Making of "The Matrix:" The use of Maya for Mannix's Box Office smash "The Matrix. Speakers: Rudy Poot, and Rodney Iwashina

Greenworks' xfrog software: Worldwide leading virtual flora software. Speakers: Stewart McSherry and Bernd Lintermann

H-Gun Labs: Chicago + San Francisco based post production house, Speaker: Adrian Diamond

"Let's Get Medical": The long awaited debut of the latest short from Jon Tojek and Peter Juneau. Speaker: Jon Tojek

An Open Forum will conclude the evening including a Q & A for any Maya/Mel Script user problems.

RSVP to Mike Tyau at:

25SanFran
message_25.txt04 / The film leaves the room
FromLisa Lo
ToJon Tojek
SubjectRe: Let's Get Medical SF showing
Why it mattersThe film is still being pushed while everyone’s career life keeps moving.
Cleaned historical message body

Hi Jon, The niacin just gives you hives and activates your memory cells.... As for LucasArts... No, because I was asking for too much money... plus I didn't know 3D studio max...The range is quite different from the film industry.

When I looked around at LucasArts, the place looked neglected and disorganized...almost depressing. I've submitted my stuff to LucasLearning . Because of their mission statement (no shoot-up games), I would lower my salary for them ...They called so I am in the running.... I am also preparing to grow hemp on my family's land in the big island...

Sorry no THC there... Hope you were able to get your "Let's Get Medical"out in time!!! Throw me some work!!!

Lisa Lo Digital Forest Phone/Fax

26SanFran
message_26.txt04 / The film leaves the room
Fromnoel lawrence
ToJon Tojek
SubjectRe: Film submission for the mission
Why it mattersArtists’ Television Access offers a serious path for the finished video.
Cleaned historical message body

Jon,

Hi, I left a message for you on the number you gave me but I never got a response. Here's the situation:

Artists' Television Access shows experimental and alternative works of

video and film. If your video falls under that definition, it's worthy of consideration.

There are a number of parties where you could submit your video at

ATA. Craig Baldwin runs Other Cinema (you were looking at his website). Staff members of ATA curate various shows the rest of the time. In your case, I would probably be the best person to look at your videotape. I have been talking about putting together an experimental computer animation show with Molly Hankwitz (ATA board member) and David Cox (3D filmmaker) in December. In the meantime, I might also show your video in the online gallery at the OtherCinema website (I am the webmaster).

As a budding 3D animator, I would love to speak with you about your

craft. I work in EIAS and Form-Z on Macintosh. It would be interesting to know how my setup compares with using SGI workstations. I would also be interested in getting tips in how to output for broadcast vs. film as well.

You can either call me at or write me at this address.

Thanks, Noel

Jon Tojek wrote:

Hello there,

This is Jon Tojek, I am writing from the mission in San Francisco. Just saw your web page describing that you show films at 992 valencia. If you are looking for new materials I have just finished a 3 minute video that is shot on 35mm, and completely redone on SGI with 3D animation and compositing. It is a dark scary story of Dr. Scott a failing surgeon who is in love with the tools of the trade.

27SanFran
message_27.txt04 / The film leaves the room
FromCraig Schiller
To'Jon Tojek'
SubjectRE: FW: Where am I?
Why it mattersA party glimpse becomes another invitation to bring the tape around.
Cleaned historical message body

Jon- I only got a glimpse of your film at the party, and of course was far to wasted to remember, let me know if your free to have a beer or dinner this week or next weekend, or if your in the area with a tape stop by. Craig

----Original Message-----

working in Redwood City on a 6 month production cycle for a Playstation game that looks nothing like what you will see in the following

URL.

28SanFran
message_28.txt04 / The film leaves the room
Fromstewart mcsherry
ToJon Tojek
SubjectRe:
Why it mattersThe film is still part of the conversation while the tools and plugins keep breaking.
Cleaned historical message body

hi bro it turns out the fur.mll is bad. you have to replace it with a new one from a/w.

how could i be smart about that bro buy a vowel your employer fucked up no way to track that down from my side

i think in a few months paint effects might be serious. he added instancing so you can paint branches instead of whole trees and file textures so its less cartoony. anyhow.

henry ford sez " I love Xfrog its the best maya plugin ive used, EVER" marilyn m sez " i just cant live without my Xfrog plugin for organic structures" you say " i have extensively tested the xfrog plugin for maya and i have to say, WOW, it rules in my new lets get medical film that i worked on extensively for the past 6 months and which kicks ass a lot and i will become famous now all thanks to Xfrog. thanks guys for the cash in exchange for saying this and also be sure to buy lets get medical on ebay and yahoo and amazon as soon as possible"

what, no siggraph ? whats in hawaii why that week hombre. will be boring without you. maybe i dont go i still cant get so excited about going to siggraph this time

stewart mcsherry wrote:

hi jon i just got 2.0 unlmited for NT. i load it and everytnig runs,

the

first time, except i get some text error message about unable to move preferences mel error blah blah.

Hey stew wort,

I do not have an exact answer for this but I also had trouble with the NT software. I would definately un-install any prior versions of maya, also delete or change name any prefs you have in the user dir. I had a situation where I had to NOT install fur

cartoonish

so far, needs more textures. will make a xfrog tree or whatever and throw some duncan stuff all around it. that might actually do well as a marketing stunt.

Yea man, Don't sweat paint effects. It is cool, but it does not replace making polygon trees and plants.

and

they still havent shipped 2.0 to us, we just have the cdroms. also 2.0 unlimited update is missing a NT manual. weird.

Yes there have been many problems.

sports arena, eh.

dunno if i will make siggraph i dont seem very interested in going and

CREDITS AND EVIDENCE

Who made it

  • Jon Tojek — director, animation, compositing, music, and web/presentation work.
  • Peter Juneau — film and compositing collaborator; camera and production planning.
  • Robb Gardner — grip, lighting, cinematography help, and early feedback.
  • Scott Kaminski — Dr. Scott / lead actor, identified through the production record.
  • Sophia Longoria — created the opening and closing credits.

Built by Hermes Agent · local presentation layer only · canonical timeline and raw archives unchanged.

RESEARCH NOTES

What remains open

  • The principal shoot date is labeled as a reconstruction, not a direct single-line fact.
  • The hospital exterior is current reference material; the production frames are labeled separately.
  • The selected bodies preserve useful correspondence while removing transport headers, signatures, credentials, contact details, and repeated mail-service material.
  • The local image set includes production frames, graphic interludes, and one clinical/reference scan; captions distinguish those categories.

Source file: data/lgm_timeline.json · visible cards: 28 · stages: 4.

MOVING IMAGE

The surviving public versions

Local copies are available below for offline viewing. Public YouTube versions remain linked in the archive record.

Original YouTube version · Redux / AI upscale · Jon Tojek channel

PUBLIC LIFE / FESTIVAL TRACE

Where the film was sent — and where it surfaced

The surviving record contains one clear festival programme listing, a formal public debut, several documented submissions, and a number of later routes that were discussed but are not confirmed as selections. The categories below keep those histories separate.

Confirmed public appearances

Programme or event evidence exists for the film being shown or publicly presented.

Confirmed programme listing

MicroCineFest 1999

November 3–7, 1999 · Baltimore, Maryland, USA

The archived 1999 programme lists Let’s Get Medical by Jon Tojek and Peter Juneau, 3:00, 35mm “shown on video.” This is the clearest surviving festival listing for the film.

1999 programme archiveEvent record

Confirmed public debut · not a festival

Bay Area Alias|Wavefront UserGroup

June 17, 1999 · Fort Mason Center, San Francisco, California

The archive invitation calls this the “long awaited debut” of the short, presented by Jon Tojek at the Bay Area Maya User’s Group meeting. It belongs in the public-life record, but it was a user-group event rather than a film festival.

Archive evidence · message 24

Documented submissions and applications

These records prove that the film was entered, sent, or identified as a submission target; they do not by themselves prove selection.

Formal submission documented

SIGGRAPH ’99 Computer Animation Festival

August 8–13, 1999 · Los Angeles, California, USA

The archive contains the SIGGRAPH 99 account record and submission acknowledgement for Let’s Get Medical. No acceptance notice was found in the local record.

ACM SIGGRAPH 99 recordArchive evidence · message 15

Submission target named in archive

Nomad VideoFilm Festival

1999 · West Coast touring showcase; cities varied

Jon’s April 27, 1999 correspondence names Nomad among the first four places the finished film was being sent. The surviving archive does not contain a selection notice or a confirmed LGM programme entry.

Festival historyArchive evidence · promotion route

Online festival target / web host

Zoie Films Internet Film Festival

1999 · online; Zoie Films associated with Georgia

Zoie is named with SIGGRAPH, Prix Ars, and Nomad as an early destination. A June 1999 message also refers to an older video version being hosted at Zoie Films. No selection notice or exact 1999 festival dates were recovered.

Archive evidence · first four destinationsArchive evidence · web promotion

Other routes and leads

These are useful traces for future archive or Wayback research, but they are not presented as confirmed screenings.

Target discussed · not confirmed

D.FILM Digital Film Festival

1999 target · exact event date and location not established

Stewart McSherry specifically calls D.FILM “a great festival,” and Jon replies that he planned to send the film after the final sound work. No selection notice was found.

Archive evidence · message 21

Hoped-for outlet · not confirmed

RESFEST Digital Film Festival

1999 touring festival · multiple U.S. cities and international stops

A June 1999 message says the film would be shown somewhere again, “hoping ResFest.” That wording records a hope, not an acceptance. Contemporary reporting confirms the 1999 RESFEST touring circuit, but not LGM’s inclusion.

1999 festival report

Submission route offered · not confirmed

Artists’ Television Access / Other Cinema

June 1999 · 992 Valencia Street, San Francisco, California

Noel Lawrence describes ATA’s experimental film and video programmes, Craig Baldwin’s Other Cinema, a possible December computer-animation show, and a possible online gallery. The message does not confirm that LGM was selected.

Archive evidence · message 26

Research notes

How to read the evidence on this page.

  • Confirmed means a surviving programme, invitation, or event record names the film as shown or publicly presented.
  • Documented submission means the local archive contains an entry, acknowledgement, or explicit statement that the film was sent there.
  • Lead means the archive records a possible route, recommendation, or hope, but no acceptance or programme record has been found.
  • The festival names above use the formal names recovered from festival archives, contemporary reporting, or the organisations’ own historical pages rather than expanding the shorthand in the email by guesswork.
  • Sources checked for this section include the MicroCineFest 1999 programme archive, ACM’s SIGGRAPH 99 record, the Ars Electronica Prix archive, the Nomad VideoFilm Festival history, and contemporary RESFEST reporting.

Archive boundary: this section reports what can currently be verified from the local LGM correspondence and surviving public records. It does not turn an application into an acceptance.

THE WORK BEHIND THE WORK

How this site was made

This site was assembled by Hermes Agent as a local, searchable way to turn a difficult private archive into a readable production history.

The original tar files were located, and three raw archive streams—compressed and encrypted at source—were searched and indexed without sending the archive to a remote service. Headers, dates, correspondents, and relationships were organized first; selected story material could then be assembled from the first email to the last in a clear chronological way.

That means the LGM story is not an isolated web page. It is one small, carefully selected part of a much larger main archive: 1,081 emails involving 1,367 indexed people and contact nodes across five calendar years, 1995–1999. The same structure can now support many different stories, each with its own beginning, middle, end, evidence, and visual record.

Everything here was created locally with Hermes and AI sovereignty: local files, local indexing, local presentation, and human direction at every meaningful step.

Jon Tojek does not claim to know anything about web design. He does, however, yell verbally at the computer—and at Hermes—until the page looks good. That is part of the production process too.

Local archive · human-directed · built with Hermes
1,081emails in the main archive
1,367indexed people and contact nodes
1995–1999five calendar years
28emails selected for this LGM story