http://www.chicagoreader.com/chicago/onion-city-experimental-film-video-festival-avant-garde/Content?oid=21280707
Wisdh I was back in Chicago!
Chuck Kleinhans
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According to my count, all of the narrations begin 5 seconds (up to 4 frames at
24fps, less in most cases) before the next image appears, with one second of
black between the burnt and the "raw."
> But Segal is so wrong: no narration begins 15 to 20 seconds *after* the next
> photograph appears
But Segal is so wrong: no narration begins 15 to 20 seconds *after* the next
photograph appears; they all begin before. That's not a precision problem;
that's a version problem. At least I think so. She can't have made this kind
of mistake, no?
But now I have Premiere open and I'm measuring
I don’t think there are two distinct versions. I suspect (though to be honest I
haven’t used a stop watch to time it) that Shira may be ascribing a precision
to the film which it in fact lacks—though the ascription is entirely
understandable since, as a foundational ‘structural film’ using a str
Hello all,
I'm looking for a Tobin time lapse motor in Toronto, Canada and I thought I
would pick the collective brain of the frameworks community:
Does anyone know where I could find a Tobin TTL here, or is there anyone in
Toronto who has one you would be willing to lend/rent one to me?
In tota
But is the Treasures version the one Segal describes, and is that the, um,
authorized version? And is the one on the Odyssey collection, which Brand
worked on too, authorized as well? Are there two distinct versions circulating?
I just had that Treasures comp in my hands, but I returned it to
First hit on the interwebs for Luca Cursi.
http://badartbad.blogspot.ca/2007/12/luca-curci-and-artexpo-scam.html
On Fri, Mar 4, 2016 at 2:26 PM, Esorp wrote:
> I seem to recall running into his name years ago and having had similar
> suspicions about the arrangement. On that basis I declined t
I seem to recall running into his name years ago and having had similar
suspicions about the arrangement. On that basis I declined to enter. But
Kathy Rose (my sister) followed through (when it was a bit cheaper) and found
that the publicity and general support he offered was worth the investm
Hi,
I just posted a new video on YouTube at https://youtu.be/ZEt3IZ_TkaY
In December of last year, my cousin Steven Golos sent me a DVD containing
family home movies from the late 1930s. I immediately started integrating this
material into my live performances and eventually decided to work mor
Has anyone seen this call for work:
It's Liquid Experimental Art?
Apparently, the curator (Luca Cursi) wants 500 Euroes to screen a film if it is
selected:
Artists interested in taking part in our shows, are free to be sponsored and
supported by institutions, organizations, governments an
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
Cf. the version on Treasures
http://www.filmpreservation.org/dvds-and-books/treasures-iv-american-avant-garde-film
On Fri, Mar 4, 2016 at 1:06 PM, John Muse wrote:
> Having checked with the usual suspects, I'm at a loss to explain the
> discrepancy between the version of (nostalgia) on the 2
Having checked with the usual suspects, I'm at a loss to explain the
discrepancy between the version of (nostalgia) on the 2012 Criterion disk and
the version described by a few folks, one being Shari Segal, who in a 2005
essay entitled From the Private to the Public" writes:
> Each voice-over
Hi Ben, I have a pair of rewinds with longs shafts and friction drags. I
need to sell them so contact me off site domi...@cinemod.net
On Thu, Mar 3, 2016 at 11:53 AM, wrote:
> Hey,
> I am starting production on my first feature film soon and I was wondering
> if anyone was interested in helping
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