Hi Albert - Gary Beydler's Hand Held Day doesn't really fit, as it's just a
time lapse film, and no still images are rephotographed in it.
There's also Sam Gurry's Winners Bitch, many by Takashi Ito, Dutchman's
Photographs by Isao Kota, various films by Eriko Sonoda...
An interesting inversion of
Hey Gene,
Do you mean just using a slower shutter speed so you get a streaking
effect? If so, this is a really old technique in the analog world. Are
you thinking like the sequence starting at 2:38 here from Pat O'Neill's
Water and Power?
https://www.youtube.com/watch?v=PBmaF71XnLM ? Or somethi
yon,
>
> Dominic
>
> On Nov 11, 2019, at 9:30 AM, mrktosc wrote:
>
> Funny as it may seem, they do exist!
>
> mt
>
>
>
> On Nov 11, 2019, at 9:19 AM, Mark Street wrote:
>
> Video master? Peter? Ha! ;)
>
> Mark Street
>
> On Mon, Oct 7, 2019
me to another print anywhere of the film (besides the one
at Canyon)? Even a weird old video master could be helpful.
thanks much,
Mark Toscano
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When I did some research in the Brakhage papers at CU Boulder, I came
across a bunch of documents pertaining to the Essential Cinema
selection/committee process, which were fascinating. Stan Brakhage was
initially involved in the committee, but ended up leaving it, apparently.
There were lists of
ure out what this thing is. Anyone know?
thanks very much,
Mark Toscano
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Lenny Lipton's Independent Filmmaking probably has all of this info in it,
and then then then some.
Mark T
On Fri, Dec 14, 2018 at 4:32 PM Eric Theise wrote:
> The frame says –
>
> Download this Exremely [sic] Helpful Word Document, Courtesy of: MPS
>
> "..Your workprint and tracks ser
UCLA Film & TV Archive is the current source for renting prints of Bruce
Conner films. They haven't been at Canyon for some time.
Mark T
On Fri, May 4, 2018 at 10:05 AM, Adam Hyman wrote:
> Either Canyon Cinema or the Conner Estate. You can check with Canyon
> online, and if they don’t, cont
Oh Dem Watermelons' soundtrack is indeed an original Steve Reich
composition/performance with piano and voices, not electronic. Plastic
Haircut (1963) contains Reich's first-ever tape piece. Pretty sure the
Rainbow in Curved Air on Lawder's Corridor is just from the standard record
- the film doe
Hi all,
Has anyone determined the identity of the original film Hollis Frampton
repositioned as Works and Days?
thanks,
Mark
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Kodak has now discontinued 7302 acetate bw print stock at this point, which
is unfortunate primarily because we (and probably lots of other people)
used it for lightstruck leader too.
Mark Toscano
On Tue, Aug 15, 2017 at 8:54 AM, Scott Dorsey wrote:
> > So if polyester stocks are stronge
likening the sound to external sources somewhat different to what they
> actually were. The troubling question that this raised is: how does
> prior knowledge of what is being heard (and seen for that matter) affect
> the viewing-listiening experience of the film?
>
> Best Wishes
&g
, thanks!
> My one comment: can you not design it white on black? It's hard on the
> eyes to read...
> All the best!
> Pip
>
>
> At 18:21 -0700 6/08/17, Mark Toscano wrote:
>
>
> https://preservationinsanity.wordpress.com/
>
>
>
Hi all,
I realize it's kind of self-promotional, but since a halfway decent amount
of people seemed to like it, I hope you'll indulge me a bit of news about
my Preservation Insanity site.
Just wanted to spread the word that after a long period of inactivity, I've
moved, spiffed up, and begun post
bably
lots of examples out there from a lot of effects people. Robert Abel &
Associates specialized in it.
Like here's one example from Abel:
https://www.youtube.com/watch?v=XsYFjITWXSo
Mark Toscano
On Mon, Oct 31, 2016 at 10:07 AM, George, Sherman wrote:
> Every time the Enterpri
Off the top of my head -
Sarah Biagini has a really excellent 16mm film called I SWIM NOW:
https://vimeo.com/35387818
and her Vimeo page has a number of other short works making quite elaborate
use of the optical printer, including Ikiru Wipes, in which she isolates
all the different wipes in Kuro
ad and consider signing this petition to express a community's
displeasure with this recent and highly problematic turn of events.
http://www.ipetitions.com/petition/letter-to-the-board-of-the-ann-arbor-film-festival
thanks for your patience with my rant -
Mark Toscano
__
My one counter to David's comments (if I'm reading you right) would be that
the vast majority of artists working in 16mm from the '40s through the '60s
did in fact use Kodachrome and Ektachrome, among other stocks. Color
negative didn't even exist in 16mm until 1964, and very few "experimental
fil
est,
>
> Laura
>
>
>
> > On May 31, 2016, at 1:03 PM, Mark Toscano wrote:
> >
> > Hi all -
> >
> > Does anyone know the name (if it has one) of the very short video piece
> Tony Conrad made in which he inserted himself into some kind of rough porno
> w
d of party...!' - my
memory could be somewhat off on the details, but if you've seen it, you'd
remember it. He showed it at LA Filmforum maybe ten years ago, and I was
hoping to screen it in an upcoming program if it's obtainable someh
if you have archival projection, though you'd still
have to clear the rights appropriately.
Mark Toscano
On Tue, Mar 22, 2016 at 3:59 PM, wrote:
> Hi Kim,
>
> I can also give you Chuck's email if that helps, off list.
>
> It was originally done for the Oscars,
The transfer on the Treasures IV set was supervised by the inimitable Mr
Bill Brand, who knows the films intimately, and also has helped supervise
restorations and digital mastering of numerous other Frampton films.
Mark T
On Fri, Mar 4, 2016 at 10:22 AM, Ken Eisenstein wrote:
>
>
> Cf. the ver
some LA stuff:
Picture Without Sound & Now Playing by Susan Rosenfeld
various by Roberta Friedman & Grahame Weinbren, including Bertha's
Children, After Ten Minutes Lines, The Making of Americans, Future Perfect,
Murray and Max Talk About Money, and others.
Film Achers by Beth Block
-mark t
O
body of work to discover. Keep an eye out!
RIP Bob...
Mark Toscano
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d,
whereas a ton more folks have figured out how to run and even maintain, to
some degree, the 16mm projectors they have.
Anyway, I'm ranting. But bottom line, my feeling is to preserve 16mm as
16mm as long as it's possible!
Mark Toscano
On Tue, Mar 17, 2015 at 8:36 AM, wrote:
> M
Fotokem does. I think there's a loop setup charge, but I don't remember it
being too much. I did it once, about a couple of years ago, and they did a
great job.
Mark Toscano
On Mon, Feb 2, 2015 at 5:14 PM, Sasha Janerus
wrote:
> Anyone out there know of a lab that would
Somehow it doesn't seem like the news made its way to Frameworks yet, but
sorry to say that Ann Arbor Film Festival founder, filmmaker, artist, and
all-around maverick and fascinating guy George Manupelli died this past
Sunday at age 82.
all the best,
Mark T
__
For those not in LA or not familiar with the New Beverly, it's a longtime,
beloved local rep house that still does classic double feature programming,
mostly on 35mm. In fact, they only got a DCP-ready projector a few months
ago for the first time.
Quentin Tarantino has been the benevolent landlo
Though this announcement was directed more to film archives/archivists, I
figure it would be relevant here too.
Mark T
**
Colorlab Announces Full Continued Support for 16mm B/W Film Intermediates
and Prints
Many of you are no doubt aware Kodak has made the unfortunate
decision to di
Hi all,
I heard from our Kodak rep, and I don't really have anything super helpful
to add. I forwarded her Alex's initial email about upcoming
discontinuations. She said the products to be discontinued weren't at all
finalized, but that she did expect to see another discontinuation of some
kind
heard about 5363. I've got my order in for 7363 but just
> wondering if I need to worry about this one too.
> Thanks
>
> Lindsay McIntyre
>
>
>
>
>
> On Tue, Aug 26, 2014 at 11:54 AM, Mark Toscano wrote:
> > Hi all,
> >
> > I spoke to the L.A.
ug 27, 2014 at 11:43 AM, Mark Toscano wrote:
>
>
> -- Forwarded message --
> From: Dominic Angerame
> Date: Mon, Aug 25, 2014 at 9:00 AM
> Subject: Re: [Frameworks] Duart Vault in the NY Times
> To: Experimental Film Discussion List
>
>
> I have he
told it's on back order, but you should
be able to place an order anyway. It's not a 100% guarantee at this point
that you'll get the stock, but it's very likely.
The same should be the case for 5363 35mm hicon, which I believe is also
being discontinued.
All the
Pip - does that mean you got the Catfilm original out for Standish? That's one
of his originals that didn't turn up in his collection.
Thanks,
Mark
> On Aug 23, 2014, at 1:01 AM, Pip Chodorov wrote:
>
> Thanks for the article Bill.
>
> When DuArt was closing they were charging an arm and a
Hi all -
If you're interested, I've written something about my experience picking up
Standish Lawder's films in 2007, prompted by the arrival of the rest of his
film elements today from his daughter (and the discovery of one element in
particular).
http://preservationinsanity.blogspot.com/
Mark
But you pretty much can't go wrong with ANYTHING Pat's
made.
Mark Toscano
On Wed, Aug 6, 2014 at 12:48 PM, Stefan Grabowski
wrote:
> Bruce Baillie's 'Castro Street' has some really beautiful optical printing
> work.
>
> --
>
Roberta Friedman and Grahame Weinbren's excellent FUTURE PERFECT from 1978 uses
a Fibonacci series (among others) as a basis for some precisely placed
graphical forms marked onto (and conceptually relating to) the film's
underlying photography.
Mark Toscano
> On Aug 5, 2014, at
no joke. And honestly, I don't know how much
farther behind this trend Tri-X and Double-X negative will be, but it might
be worth stocking up as you can.
Mark Toscano
On Thu, Jul 31, 2014 at 11:49 AM, Sean Weitzel wrote:
> The reason Kodak is so challenged to continue making
Hi Andy,
I've actually just preserved the film. I can put you in touch with Morgan
unless someone already has.
Mark T
> On Jul 30, 2014, at 9:24 AM, Andy Ditzler wrote:
>
> Hello,
>
> I am trying to screen Morgan Fisher's "Projection Instructions" and
> understand that it's only availabl
Some of Kevin's films are finished on 16mm, but not all, and possibly not any
of the features.
Thom Andersen did indeed finish Get Out of the Car on 16mm.
Madison Brookshire's Color Series is a quite unique 16mm feature-length work.
Did anyone yet mention Els Van Riel's Gradual Speed or Matthew
Peter Mays' indescribable DARK ISLAND.
Mark
> On Jun 22, 2014, at 2:31 PM, "Pigott, Michael"
> wrote:
>
> Dear Frameworkers,
>
> I'm putting together a piece about the use of islands as locations in recent
> experimental film and video. I'm focussing on Ben Rivers' Slow Action and
> Sim
Hello all,
Sorry to pass along the news that Standish Lawder passed away this past week.
I don't have any other information yet, but will try to get more news up here
as I hear it.
all the best,
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Donald Fox's OMEGA and YOUNG GOODMAN BROWN both use color reversal infrared
film.
Mark T
> On May 1, 2014, at 8:18 AM, Ruth Hayes wrote:
>
> I seem to remember that Betzy Bromberg used infrared film stock in one of the
> films she showed us when I was in grad school…
>
> http://www.randommo
7;ing for optical compensation. In
restoration projects (and some of my own films), I create an optical-ready
version with John Polito at Audio Mechanics, and he tailors it beautifully each
time to the track and its quality/content. And the tracks always sound
excellent as a result.
All the best
Title: Re: [Frameworks] Films about painting as action/gesture
BLACK AND WHITE FILM (Robert Huot)http://www.youtube.com/watch?v=wNGpWHIYyZgTHE COUNTER GIRL TRILOGY (Courtney Hoskins)EUROPA (Courtney Hoskins)https://vimeo.com/7212179Several by David Haxton, including:PAINTING ROOM LIGHTS, LANDSCAPE
Kodak technically makes only one 16mm color interneg stock to duplicate
non-orange-base positives - 3273. It's more or less the same as 50D camera
negative, and I've actually found it to be quite good at reproducing b/w and
other monochromes mixed with color material. May depend on the lab, but
Nov 25, 2013, at 10:59 AM, Mark Toscano wrote:
>
> I think what Albert's asking for are films that utilize a more or less intact
> found soundtrack, rather than a collaged soundtrack that includes found sound
> segments.
>
> Lipsett, Pat O'Neill, and plenty of other
I think what Albert's asking for are films that utilize a more or less intact
found soundtrack, rather than a collaged soundtrack that includes found sound
segments.
Lipsett, Pat O'Neill, and plenty of other artists have made some exciting use
of collaged found elements, but I'd also love to he
Utopia (James Benning)
Lost Sound (John Smith)
Picasso (Chris Langdon)
mark t
> On Nov 24, 2013, at 3:56 PM, Albert Alcoz wrote:
>
>
> Hi,
>
> Institutional Quality by George Landow was created from a found soundtrack,
> in this case a tape recorder about an instructional test.
>
> Does an
m now to make
arrangements for their retrieval.
Also, if you're interested, it's possible they may be selling some equipment,
so it could be worth it to ask.
all the best,
Mark Toscano
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Andrew Lampert's BENETTON series of films may qualify.
Mark
On Aug 30, 2013, at 12:27 PM, David Sherman wrote:
> My film "To Re-edit the World" is made almost exclusively of the found
> remaining films and fragments of lost San Francisco Beat filmmaker Dion
> Vigne. You can find the descri
all of his film originals are lost, so
it ended up being quite timely, and I'm happy to say I've been through
everything and have begun some preservation/restoration work, starting with the
film described at the link above.
all the best,
Mark Toscano
_
I don't know the current state/whereabouts of his work, but will try to find
out. He rejoined Canyon when I worked there, and I had a few nice and
interesting conversations with me, but can't really say I knew him. I like what
I've seen of his work, and he definitely broke some major ground as a
Posting this here as I hadn't seen it reported yet...
http://www.wyso.org/post/local-artist-jud-yalkut-dies
Mark Toscano
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Yep!
Mark
On Jan 18, 2013, at 1:11 AM, Shumona Goel wrote:
> Dear Mark,
>
> Is Cinema Arts in Pennsylvania?
>
>
>
> On Thu, Jan 17, 2013 at 10:19 PM, Mark Toscano wrote:
>> Yep! A number of labs do it, customarily using b/w dupe neg stock 3234.
>>
Yep! A number of labs do it, customarily using b/w dupe neg stock 3234.
Colorlab and Cinema Arts in particular have a reputation for getting very nice
looking prints from dupe negs off of b/w reversal originals, and I can vouch
for that. Cinema Arts did some beautiful dupe negs/prints on three
Grateful Dead (Robert Nelson) - Nelson made a tape collage from the Dead's first album (given to him on 1/4" by them) that ran about 8 minutes, then cut his film very tightly to that tape piece. When their second album came out, the Dead asked Bob to make a new soundtrack for the film, using the n
The Laurel & Hardy that was described is Two Tars, in which they go at it with
some rivals back and forth destroying each other's cars. In Big Business, it's
back and forth between the guy's home and L & H's possessions, including their
car.
There's also:
Hot Leatherette (Robert Nelson)
999 B
I did. This is what the Kodak rep told me. If I hear anything further, I can
post it here.
Mark Toscano
On Dec 13, 2012, at 11:38 AM, carli...@aol.com wrote:
> I find it hard to believe that they will make more, unless there's a few
> frozen rolls around somewhere. Who said thi
hey Josh,
As far as I know, Canyon is the only legit 16mm distributor for the
Ralph/Residents films right now in the U.S., so unless you wanna just show it
from a bootleg DVD, or official one (?) or something, and show it that way,
you're outta luck.
Mark
d.
Thanks again for your continued support.
All the best from the staff and Board of Canyon Cinema,
Denah Johnston
Linda Scobie
Maïa Cybelle Carpenter
Nathaniel Dorsky
Dana Plays
Mark Toscano
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Hi Fred,
I agree with you about restoration titlecards. In some cases, funding agencies
require them as a condition of accepting that funding. Some archives always
have them as a matter of course, which often helps them to be identified with
the great work they're doing when the print shows w
h I really appreciate.I figured anyone doing the tour wouldn't know about the Academy's connection, since it isn't mentioned anywhere in the tour promo material. For this, I totally don't blame the folks actually showing the films in their respective venues.MarkFrom: Scott
dated my time at the archive by
a bit. But my colleagues here did a huge amount of work on these films, and
I'd like to ask anyone who's showing these prints to consider thanking the
Academy Film Archive in their own promotional materials, if they
I know of a guy in LA named Ron Gonzalez who still has his equipment and has
been looking for titling work. Can pass his info along if anyone needs it.
Mark Toscano
From: 40 Frames
To: Frameworks
Sent: Tuesday, October 2, 2012 8:35 PM
Subject: [Frameworks
o a 35mm short film, deriving from the
photo exhibit they created.
Genevieve Yue has been researching china girls, and has put together a program
of china girl related films at Anthology for sometime this Fall. I could list
some of them, but you'd have a more definitive list when her pr
FYI -
If anyone has elements sitting at Deluxe Labs in Toronto, now is the time to
pick them up. Deluxe Toronto has laid off almost everyone and is closing, and
they are eager to return elements to their rightful owners.
Mark Toscano___
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http://canyoncinema.com/2012/07/30/important-announcement-from-the-board-of-directors/___
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Hi all,
Just confirmed with Kodak today that they're discontinuing production of sound
recording stock 3378 (for making track negatives) in 35/32mm. They have enough
stock left for about 1-1.5 years, based on past sales numbers. 35mm and
regular 16mm gauges will remain available.
While this
but I have some work that speaks to
this area too, as it's something I'm definitely interested. (I feel dirty now.)
Mark Toscano
From: Brent Coughenour
To: Experimental Film Discussion List
Sent: Wednesday, July 11, 2012 9:49 AM
Subject: [Frame
Jean Painleve certainly comes to mind. And the Eameses.
In a less rigidly scientific vein:
Courtney Hoskins has a series of abstract films based on the Gallilean
satellites:
http://www.courtneyhoskins.com/film/the-galilean-satellites-europa/
Stellar (Stan Brakhage)
Crystals (1951) & Micro 2
http://preservationinsanity.blogspot.com/2012/06/neuron-1972-by-robert-russett.html
Enjoy!
Mark T___
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In case anyone's interested...
http://preservationinsanity.blogspot.com/
Mark T___
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Hi -
Does anyone have a recent contact for Grace & Wild (formerly Filmcraft)? I
realize they shut down, but I'm hoping to track something down that would've
been left in their vaults.
thanks much,
Mark Toscano
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riginals were all lost by a lab ages ago and he had begun
selling his remaining extant prints!
thanks again,
Mark Toscano
From: Michael Lee
To: pe...@redrice.net; Experimental Film Discussion List
Sent: Monday, May 14, 2012 2:15 PM
Subject: Re: [Frameworks
hat album - was it one of
his first that was widely available in the U.S.?
Mark Toscano
From: Gene Youngblood
To: Experimental Film Discussion List
Sent: Monday, May 14, 2012 8:47 AM
Subject: Re: [Frameworks] pre-Beatles sitar in experimental film
James ma
) features a brief snippet of (I
believe) also Ravi Shankar, in the midst of an otherwise jazz soundtrack
containing Miles Davis, Dave Brubeck, and John Coltrane.
Mark Toscano
From: Dennis Doros
To: Experimental Film Discussion List
Sent: Saturday, May 12,
ther really great film
Money (Mike Henderson, 1970)
Money Does (Mike Henderson, 1982)
Budget Film (Standish Lawder, 1967)
For the Record (Carolyn Faber, 2001)
Corporate Accounting (Scott Stark, 1982)
Mark Toscano
From: graeme hogg
To: Experimental Film Discussion
Hi -
Been hearing that Amos Vogel died today. Can anyone confirm, or does anyone
have additional info?
Mark Toscano___
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Neuron (Robert Russett, 1972)
Now That the Buffalo's Gone (Burton C. Gershfield, 1967)
Malanga (Keewatin Dewdney, 1967)
Evolution of the Red Star (Adam Beckett, 1973)
Internal System (Coleen Fitzgibbon, 1974)
Screen (Pat O'Neill, 1969)
Incantation (Peter Rose, 1968)
Mark T
_
Sorry, I think it's fixed now. Jeez, first time for me...
Mark T
From: Huckleberry Lain
To: Mark Toscano
Sent: Monday, April 2, 2012 8:10 PM
Subject: Re: [Frameworks] (no subject)
uh oh. Someone's email got hacked. do not click the link
e like for that
specifically. Cineric in NYC might also be able to.
And I don't know if it would be cheap enough to be worth it, but Synchro Film
in Austria could also do it last I checked.
Mark Toscano
From: winston degiobbi
To: frameworks@jonasmekas
reversal stocks exist out there?
Either cut down custom by various labs/suppliers, or produced as 16mm by
rawstock companies? Just want to know what my options are, if any.
Mark T
From: 40 Frames
To: Mark Toscano ; Experimental Film Discussion List
Sent
You've gotta be kidding.
Thanks for this heads-up goes to Timoleon Wilkins:
http://www.democratandchronicle.com/article/20120301/BUSINESS/303010043
Mark T
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Quite a bit. And to Canyon Cinema in past years.
Mark T
From: marilyn brakhage
To: Experimental Film Discussion List
Sent: Wednesday, February 29, 2012 2:19 PM
Subject: Re: [Frameworks] more on the Academy
On the other hand, he has given some support to B
experimental filmmakers around Anthology, he does know them all.
(Though I prefered his "Condensed Cream of Beatles!)
-Pip
At 20:50 -0800 27/02/12, Mark Toscano wrote:
>Exactly. I didn't have anything to do with it! Which is all the
>better, as it suggests that his influence has i
ssion List
Sent: Monday, February 27, 2012 7:22 PM
Subject: Re: [Frameworks] Kuchar on the Oscars
This is how myths begin...
-JH
From: Huckleberry Lain
I just heard that was solely because of Mark Toscano. So, cheers to Mark!
Thanks for having the
o frames of black
> leader a way
> to hide the splice in a single-roll of hot-spliced original or just
> a way to
> pop out the image on screen a bit more (or a little of both)?
> Best,
> Chris
>
> On 2/25/12 9:14 AM, "frameworks-requ...@jonasmekasfilms.com"
&g
way
to hide the splice in a single-roll of hot-spliced original or just a way to
pop out the image on screen a bit more (or a little of both)?
Best,
Chris
On 2/25/12 9:14 AM, "frameworks-requ...@jonasmekasfilms.com"
wrote:
From: Mark Toscano
It's
> fairly dorky, but in case anyo
It's fairly dorky, but in case anyone's curious, I posted something about Stan
Brakhage and a little about his use of color negative stocks at my
unpredictably updated blog:
http://preservationinsanity.blogspot.com
This post was specifically inspired by going through the original for his film
Georg by Stanton Kaye
Mark T
From: jaime cleeland
To: Experimental Film Discussion List
Sent: Thursday, February 23, 2012 12:18 PM
Subject: Re: [Frameworks] First person narrative (Shira Segal)
The use of the camera i.e "puts forth the camera as
a
Chris Weber in Burbank is pretty much the go-to person in L.A. for 16mm (she
does 35mm too of course). Her info can be found here:
http://www.manta.com/c/mm8l1bc/chris-weber-post-production
She did a great job cutting a negative for Chick Strand's final film, and has
cut negs for Morgan Fishe
Mosori Monika is in English, so subtitles aren't necessary.
And yep, the place to get it is Canyon! It's only available on 16mm at the
moment.
Fantastic movie, a very underrated and underseen one by Chick.
Mark
From: Beverly O'Neill
To: Experimental Film Di
Richard,
Who did you write at the Academy? May Haduong, who coordinates loans and
viewing appointments, is very good at returning emails.
The film is at the Academy Film Archive, in the Whitney Collection. You can
email May at filmarch...@oscars.org
all the best,
Mark
___
tos of Bob and images
from his films:
http://preservationinsanity.blogspot.com/
All the best,
Mark Toscano
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Hi Andy -
Anthology preserved one or more of them in the recent past, but not sure which
ones. I believe they might be starting their loans up again in the near
future, I'd definitely check with them!
Mark
From: Andy Ditzler
To: Experimental Film Discussi
David Bordwell has a simple but very effective setup for making stills from
prints with a 35mm camera, though I don't know its precise composition. He's
made an unreal amount of amazing looking stills over many many years, still
doing it in 35mm last I knew. Someone else on this list might kno
One of the ultimate experimental travelogues for me is Robert Nelson's two-part
"Suite California Stops & Passes", which is a self-identifying travelogue.
Part 1 covers the Mexican border,Death Valley, and Los Angeles, while Part 2 is
the Bay Area and environs. It was intended as a three-part
INSOMNIA by Fred Worden
Different sizes of hole-punches in black leader. I think Fred made this during
insomnia-driven late nights, but not sure. His scratch film BOULEVARD may also
be relevant. And perhaps EVERYDAY BAD DREAM.
999 BOY by Chris Langdon
10 minutes of 400-speed b/w footage drivi
tly.
http://www.filmtech.com/
Feel free to contact them and let them know I suggested you ask them!
Mark Toscano
--- On Fri, 10/21/11, Myron Ort wrote:
> From: Myron Ort
> Subject: Re: [Frameworks] Perfs
> To: "Experimental Film Discussion List"
> Date: Friday, October 2
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