Re: [Frameworks] image enhancement in FCP?

[Cari Machet]

yes there are but sharpening can lead to its own kind of ickiness

which fcp version are you using?

you can also do an image sequence into photoshop after exporting still
frames from fcp if you prefer it is more manual way but if photoshop does
it better in your mind then maybe that is a course you can take if it is
not too long of a piece - like say part of the tape is worse than other
parts

are you in san francisco or near it? i would suggest going to talk with the
internet archive about the tape maybe they can do some magic on the
original - ask for brewster kahle

On Tue, Apr 17, 2018 at 9:06 PM, Gene Youngblood  wrote:

> Colleagues,
> Jane and I continue our Kuchar project, and we’re wondering if there are
> features of FCP, or plugins for it, that enable Photoshop-like enhancements
> to sharpen older, low-res tapes. Jane is a good editor, as those who’ve
> seen the show know, but on the other hand we’re not professionals so we
> don’t keep up on the latest developments. Advice will be much appreciated.
>
>
>
>
>
> ___
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> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
>
>


-- 

cari machet
about.me/carimachet

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Re: [Frameworks] Labor Movement films?

[Elizabeth McMahon]

Cathy's excellent suggestion reminded me of Lynne Sachs and Lizzie
Olesker's transfixing documentary, "The Washing Society."
http://www.lynnesachs.com/2017/08/23/the-washing-society/

On a similar theme, there is Roberta Cantow's "Clotheslines."
http://www.folkstreams.net/film-detail.php?id=307

Elizabeth McMahon

On Tuesday, April 17, 2018, Cathy Crane  wrote:

> In 2011, Harun Farocki and Antje Ehmann initiated the most important
> project to document labour of the 21st Century. It continues to add new
> material by encouraging the participation of and proposals from independent
> curators to conduct similar workshops in their own cities.
>
> http://www.labour-in-a-single-shot.net/en/films/
> --
> *From:* FrameWorks  on behalf of
> Cecilia Dougherty 
> *Sent:* Saturday, April 14, 2018 8:22:04 AM
> *To:* Experimental Film Discussion List
> *Subject:* Re: [Frameworks] Labor Movement films?
>
> Salt of the Earth, 1954
> Harlan County, 1976
> I AM Somebody, 1969
>
>
> On Sun, Apr 8, 2018 at 3:23 PM, Brandon Walley  wrote:
>
> Looking for experimental, nonfiction, feature or shorts that deal with the
> works right, labor unions or related for a May Day screening. Suggestions?
>
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
> 
>
>
>
>
> --
> *Say one thing and meme another*
>
> Cecilia Dougherty
> http://www.ceciliadougherty.com
> 
> http://inbetweentheories.com
> 
>
>
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Re: [Frameworks] Labor Movement films?

[Cathy Crane]

In 2011, Harun Farocki and Antje Ehmann initiated the most important project to 
document labour of the 21st Century. It continues to add new material by 
encouraging the participation of and proposals from independent curators to 
conduct similar workshops in their own cities.

http://www.labour-in-a-single-shot.net/en/films/


From: FrameWorks  on behalf of Cecilia 
Dougherty 
Sent: Saturday, April 14, 2018 8:22:04 AM
To: Experimental Film Discussion List
Subject: Re: [Frameworks] Labor Movement films?

Salt of the Earth, 1954
Harlan County, 1976
I AM Somebody, 1969


On Sun, Apr 8, 2018 at 3:23 PM, Brandon Walley 
> wrote:
Looking for experimental, nonfiction, feature or shorts that deal with the 
works right, labor unions or related for a May Day screening. Suggestions?

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--
Say one thing and meme another

Cecilia Dougherty
http://www.ceciliadougherty.com
http://inbetweentheories.com

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Re: [Frameworks] Forwarded from Massart Faculty

[MARILYN BRAKHAGE]

Fred, 
Yes, I have no real opinion about this particular case either, because I don't 
know enough about it. Neutrality can be a good choice sometimes, I guess. Or at 
least being initially cautious -- as a person can start to feel like one often 
does these days, when listening to the news, for example, when different 
"realities" are competing with each other, as various purposes are being 
pursued by different players trying to accomplish their own particular ends, 
intentionally sowing confusion in what often seems a rejection altogether of 
any attempt at rational thought! (But insofar as the discussion became more 
general, there are definitely important issues to consider. And I agree, of 
course, that true sexual harassment and real bullying are destructive and 
intolerable.) ... Francisco, I definitely do agree with you, also, that the 
world of academia is absolute anathema to some artists, and they probably do 
need to avoid it altogether. It's definitely not the best environment for 
everyone. (Stan used to imagine himself sometimes as some sort of "spy" in 
alien territory -- in various life circumstances. I guess that worked for him 
to some degree.) 

Marilyn Brakhage 


From: "Fred Camper"  
To: "Experimental Film Discussion List"  
Sent: Monday, April 16, 2018 9:10:14 AM 
Subject: Re: [Frameworks] Forwarded from Massart Faculty 








Marilyn, 

I don’t disagree with anything you wrote. Five people agreeing are not always 
right. My post was colored by the fact that I believed the initial story, 
finding it frightening that an instructor would be pressured out of a job for 
showing a film. I don’t know of any films I have seen the showing of which 
should ever be judged as sexual harassment. Sexual harassment is very serious 
and very bad, and the term should not be demeaned by application with speech 
acts not directed at a particular person. 

I taught in the same school as Stan Brakhage for quite a few years. Perhaps he 
could be a little difficult at times, but he is not even remotely like the 
unnamed person I was referencing. I was pleased to sometimes try to smooth out 
small conflict between Stan and the administration. There are intense and 
dramatic personalities; then there is the occasional abuser, and that is the 
person I was referring to, someone who in the course of what should have been 
an objective conversation routinely resorted to frequent personal insults – 
among many other bullying tactics. 

One year I got a grant that allowed us to bring in fifteen different filmmakers 
from the US and abroad. As the list came together, I was warned that this or 
that filmmaker would be very difficult. In every case but one, they were not. 
Kenneth Anger was gentle, even sweet, and did exactly what he had agreed to do. 
A few had special requests, but they were not hard to meet. 

One of the fifteen was difficult. When he met with his student projectionist in 
advance of his public show, the projectionist suggested, from the projector 
deck, that they needed to agree on a signal between them if the filmmaker felt 
a film was out of focus. The filmmaker said something like, "Why don’t I just 
call out, 'Hey, you fuck, focus it. '" The projectionist took exception to 
being referred to as a "fuck," and almost walked out. To me, this is not a 
matter about which reasonable people can disagree; it is bullying. 

That is not to say that I have any idea what the five were referring to. Maybe 
I would agree; maybe not. 

Remember too that I was responding to someone who was taking sides, apparently 
accepting the initial narrative, suggesting that the artist in general is so 
abused that he should teach dishonestly. Maybe in a totalitarian dictatorship? 
We are not there yet, thankfully. 

I don’t know what I would think about the MassArt situation if I had been 
there. It is just that I was embarrassed to be thinking ill of MassArt from 
having heard and accepted one side of the story. Now I am neutral. I always did 
admire Switzerland for not having been in a foreign war since 1515. 
Fred Camper 
Chicago 




On 4/16/2018 3:31 AM, MARILYN BRAKHAGE wrote: 



I don't know all the details of this story (and it doesn't sound as if anyone 
else in this thread does either), but I just wanted to make a few observations 
about the conversation generally: 

"Are the five signatories lying?" you ask. One might also ask, are the five 
signatories engaging in a sort of 'group think'? And/or is it possible that 
both sides of the tale are telling "the truth" from their own perspective and 
chosen emphasis? ... My (admittedly sketchy) understanding is that Saul Levine 
received a student complaint about the content of a film, a student feeling 
"unsafe" perhaps, or "sexually harassed?" (as is increasingly the charge that 
is made, it seems, when someone is presented with something of a sexual nature 
that makes them uncomfortable.) Any such