hi all
this is an excerpt of a list I made a couple of years ago with materials on
ff-film. some of it is in german even for texts originally written in english.
you should be able to find these in english, too.
hope it helps,
fred
Arthur, Paul: Lost and Found: American Avant-Garde Film in the
Hello,
The colorist said that my material was not excellent, but well within
the normal-to-good range for S8mm. He said I should have worked with
reversal film, because Super-8 cameras were never designed and
calibrated for negative stock and cannot thus yield good results on
negative
___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks
-- next part --
An HTML attachment was scrubbed...
URL: https://mailman-mail5.webfaction.com/pipermail/frameworks/
attachments/20130525/2859cfe0
This week [May 25 - June 2, 2013] in avant garde cinema
To subscribe/unsubscribe to the weekly listing, go to
http://www.hi-beam.net/cgi-bin/mailto.pl?mailto=subscribe
or send an email to weeklylist...@hi-beam.net.
Enter your announcements (calls for entries, new work, screenings,
jobs, items
Dear Florian,
Your post is very inspiring and helpful, as was Buck Bito's. The guys
at Nova Rolfim, the lab that was recommended to me, had indeed said
that scanning negative would be more difficult and expensive then
reversal film. Maybe they should have been more upfront and state that
they
it's polyester based and I presume this means it would be nigh impossible to
hand-process?
From: Janis Lipzin jlip...@aol.com
To: frameworks@jonasmekasfilms.com
Sent: Saturday, 25 May 2013, 16:59
Subject: Re: [Frameworks] Super8 200D reversal
mixed news on
Dear frameworkers,
I have another question. This one is specific to de-dusting scanned
film footage (e.g. S-8mm) in a digital workflow (e.g. final cut pro).
Sometimes dust, hair and scratches are detrimental to the visual
impression one tries to achieve. I have tried in the past to remove
hair
The difficulty of projecting and scanning color negative stock is the
reason why the discontinuation of 100D is such a blow for amateur and no budget
analog filmmaking.
This is indeed the dreadful blow that has been dealt to low budget film
enthusiasts, film students (as opposed to students of
...
URL:
https://mailman-mail5.webfaction.com/pipermail/frameworks/attachments/20130525/2859cfe0/attachment-0001.html
--
Subject: Digest Footer
___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman
Might be time to try Premiere CS6.
I assume the color space matching is easier in Premiere as you can dynamically
link between the two progs - Photoshop and Premiere. If you take a freeze
frame (shift-E in either source or program monitor), re-import it (annoying)
and then right-click, Edit
It is absolutely necessary to have full control
over color spaces and codecs if you wish to move
digital imagees back and forth between applications.
What is the format/codec of the source video?
What is the format/codec of the FCP editing timeline?
To what format/codec are you exporting the
11 matches
Mail list logo
