IIRC, Scott and Beth B.'s punk films were shot on Super-8.
Reynolds and Jolley's Seven Days Til Sunday, The Drowning Room and also (I
think) burn were shot on Super-8
IIRC, Jem Cohen has done a lot with Super-8. (Lost Book Found ??)
Frameworker Ken Paul Rosenthal's Crooked Beauty is a fine
I was thinking it would be an expensive process to remove digitally.
It's not necessarily _monetarily_ expensive. You can do it manually if you can
afford the time. Of course, you want as clean a transfer as possible, but there
are still likely to be some big nasty dust spot every X number of
I'm not an Avid expert, but I know they typically use proprietary codecs. What
container were they in? AVI?
If QT can't play the files, that could either be an issue with the codec per
se, or your Mac not being equipped with the extra widgets needed to handle the
headers of PC-based
Does anyone have experience with, comments on Ultra 16mm which creates
wide-screen 16 by widening the gate to expose between the top and bottom of the
sprocket holes, thus:
1. The mount does not need to be recentered.
2. Pretty much any 16mm lens should cover.
3. The footage can be used as
I've transplanted tape innards into a different shell, and also just replaced
the door. I can't remember if I've done either with mini-DV though. I just
looked at a tape, and it's not held together by screws, and it's not obvious
how to take it apart. It looks like there are 4 holes on the
What else could we shown in a Cat Film Fest?
As Ekrem mentioned, there's Cat Cradle and Fuses. Dunno if the amount of
kitteh-kontent is high enough for a feline fest, but the presence of the
pussy... er, scratch that [Meow!] I mean the context of the cat, is the
unraveling intertextual ball
Well, even though NFL Films has gone digital, and will probably close their lab
after their current supply of stock runs out, they know the value of their
massive archive of 16mm footage, and the archival value of photochemical film.
I can't see them committing that history to any conversion to
Alex Balkam wrote:
It may be time for Frameworks to consider contacting the higher ups at Kodak
to express the importance that the less industrial, less Hollywood products
really need to be maintained during this challenging time in order that we
can continue to expose young filmmakers and
The daylight spool issue is important. I always try to remember to ask the
lab to return them otherwise they keep them and sell them.
I don't know how things are in the UK or US at present, but back in the last
decade when I was spooling off 400' cores onto 100' daylight loads for my
MPEG Streamclip will not do the job alone for commercial DVDs. They're copy
protected. Capturing clips from them for educational/scholarly purposes is Fair
Use, but the technology to defeat the copy protection is illegal.
AFAIK, there are only two current Mac apps that rip copy-protected discs:
Most of the DVDs I've come across aren't copy protected, but it's still a two
step process. Handbrake, which is freeware will rip the NTSC DVD to a mpeg 4
format, then I use mpeg streamclip to make a mov file. With PAL DVD you can
rip it with just mpeg streamclip.
That's a poor workflow.
I assume that video recorded on a satellite DVR receiver is compressed much
more than on a DVD, right?
Not necessarily. Some DVDs are much more compressed than others. Satellite
receivers are getting MPEG2 streams, the same basic data format as DVD. I'm not
sure exactly how much bandwidth is
If it shows as charged, and then runs the camera at all just not well, does it
still show as charged after that?
A bad cable would likely produce intermittent power, not weak power.
.
The thing to do is isolate the source of the problem. Don't go out an get your
battery recelled until you
Ooof. Sorry, I was imagining a battery belt. Sorry, I think my info is bad.
Any NiCAD/NiMH battery is made up of a number of individual cells, whether it
be configured as belt or brick. !2V almost always = 10 cells at 1.2V ea.
The only kind of battery that comes as one big singular thing is
Matt:
I doubt you'll find good models at other schools. In my travels, college sound
facilities have either been created from the ground up as part of an expensive
building project, or jury rigged into some existing space so cheaply and poorly
they're barely worth having. If you can find any
Cherry-picking a definition from Google will not do for prescriptive
lexicopraphy:
of, relating to, or being a mechanism in which data is represented by
continuously variable physical quantities
http://www.merriam-webster.com/dictionary/analog
A photochemical film frame is an analog
Jeff:
BW neg, quite clearly, probably Kodak Double-X
Would they have pushed the stock? My impression has always been that Direct
Cinema first generation looked pretty crappy to begin with because they were
getting a lot of grain and getting grayer blacks etc, to shoot with available
light.
The obvious but not yet mentioned:
Sins of the Fleshapoids - Mike Kuchar
Science Friction (and other works) - Stan Van Der Beek
America is Waiting, Mongoloid, Cosmic Ray, Mea Culpa - Bruce Conner
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Chill out, people!
This is a Listserv. People write short posts quickly, and hit 'Send'.
Rhetorical excess comes with the territory as we dash off our thoughts w/o
reflecting deeply about whether our wording will read to others with the
meanings they had for us when they popped into our
-utopia
Sins of the Fleshapoids, and of course, Zardoz.
-nuclear energy/war
-The Cold War
Cristopher Maclaine: The End (essential)
Lots of Conner besides Crossroads: A Movie; Cosmic Ray; America is Waiting;
Report
Craig Baldwin: Wild Gunman, RocketKitKongoKit, Tribulation 99, ¡O No
Watching the film one could assumed Frampton followed a random process but
i'm not sure about it.
It's not random at all. IIRC, both the length of all the cuts and the advance
between cuts are numbers of frames with some 'significance', e.g. I think the
shots may all be ~ 40 frames / 1 foot.
When looking to re-power any Beaulieu, remember the original batterie were made
from no-obsolete NiCad cells. If you're going to the expense and effort of
re-celling a battery, you sure don't want to wind up with NiCads -- low
capacity and the dreaded memory effect. At a minimum, you'd want
For Hollywood film, 'Die Hard' ia masterpiece of sound production. The SFX
carry a huge amount of information, tone and style, and (naturally) they're all
post-production, including lots of Foley. I heard the lead Foley artist give a
talk on it as part of an audio-art series many moons ago, and
If you're doing a screen capture to create footage from Google Maps, the
resolution of the image, the frame-rate, and the compression codec will all be
determined by the capture program. If you tell us what software you're using to
create the original files, and with what settings, we can help
I don't know of any specific models, but since 16fps was once the standard,
there must be really old 'silent only' projectors that run at that speed, yes?
I vaguely recall that some sound projectors can be made to run at 16fps by
changing a pulley. I'm guessing they wouldn't be Elmos or Eikis
It is in fact 'Sleep' that we'll be showing in Austin, TX in October; I'm not
hopeful that I'll be able to find two functioning 16fps projectors locally...
I got an email from someone encouraging me to instead use four projectors, as
it would cut the screening time in half.
So...Why two
Experimental filmmakers don't seem to get out of the city that much, and when
they do they're more likely to wax rhapsodic on 'nature'. I'm not sure the
violence and ignorance that reign in the little villages is something most
experimental makers would have cred handling, w/o condescendingly
An experimentalish narrative feature: The Draughtsman's Contract
Maybe those early 70s S8 films of the British countryside by Derek Jarman, I
always feel they contain menace in the pastoral views.
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Yes! That looks like EXACTLY what you need, and that's a good price for a
readymade box.
Connecting a 16mm projector with only a speaker jack to an audio system usually
requires TWO things, and the Rolls box offers both:
1. An attenuator circuit to drop the output level from the speaker and
> I have a relatively new Mac laptop and I've uninstalled/reinstalled both
> programs.
Be aware that every new release of the Mac OS breaks old reliable tools for
ripping clips from DVDs. MPEG Streamclip doesn't work past 10.6.
There are a few dozen or more similar software packages sold by a
> 1. Is there a Mac equivalent of Any DVD?
Yes. It's called Fairmount. It was once available as a standalone, but is now
incorporated into Mac DVD Ripper Pro:
http://www.macdvdripperpro.com/ (not to be confused with MacX DVD Ripper Pro...)
> which allows you, for example, to play PAL DVDs
Francisco Torres wrote:
>> I figured it couldn't be that bad, that I could surely draw inspiration from
>> artists with a lifetime of experience, and that it could enrich my practice
>> and inspire me.
>
> Do people really talk like THAT? Is this guy for real?
Hmmm. Maybe not. Could be a
> My concern in the matter of film stills is not making money, but having the
> films reasonably well represented.
This is kind of a moot point for images used to illustration a point in an
academic essay published in a journal or book. They will appear as a halftone
with a max screen of
> Some of Brakhage's animal studies might fit -- such as "The Domain of the
> Moment" or "The Presence"
Actually my first thought was that a lot of Brakhage could be appropriate –
c.f. the famous opening of 'Metaphors on Vision' Adventures in perception, the
un-tutored eye seeing as before the
Don't know if they've already been mentioned:
Showers: Eastern Promises, Starship Troopers, The Faculty
Baths: Goldfinger, Fatal Attraction, Slither
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> If you are interested to see more, follow this link where I demonstrate the
> problem (password is 'loop').
There are probably folks here who know projectors better than I do, but I'll
offer my best guess fwiw in case you don't get a more expert response…
I suspect your Athena needs some
Chris: Thanks for the clarification on Vaxxed/Tribeca. But it wasn't 'Tribeca
recognizing that it needed to firm up its institutional character and to
counter a reactionary push from powerful autocrats (De Niro)'. RDN bypassed the
programmers to put Vaxxed on the schedule, and he alone pulled
> But, isn't censorship also a serious issue? Haven't we been fighting for
> institutions, especially cultural institutions to commit themselves to stand
> up for and support artists who are being attacked? Remember the dust up over
> the anti-vax movie that tried to screen at Tribeca? The
> So do we use a very small dvd player or is there a way to play a looping
> digital file through a projector?
Your best bet is probably a mini 'digital media player', e.g.:
http://tinyurl.com/hf6a62b
http://tinyurl.com/zh7r7nw
There are various similar models on Amazon and eBay, between $25
Chuck Statler - 'Ain't We Havin' Fun'
definitely
Werner Herzog = 'How Much Wood Could A Woodchuck Chuck'
maybe
> Any suggestions on avant-garde/experimental films that deal with any aspects
> of farming/gardening/plant or animal agriculture?
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Check thrift stores that let you return electronics (usually just for store
credit) if it doesn't work: Salvation Army and Goodwill usually do. Thrift
stores are where all VHS decks go to die – and the stores just want to move
them, so they price the good ones the same as the crappy ones. For
I've been thinking, about the original query from John Muse in light of the
follow-up query about Michelson, doing some wild-ass speculating. Mark's post
(he certainly knows WAY more about this than I do) suggests my imaginings are
at least not grossly inconsistent with known facts. And my
Folks, Gene asked for 360° _tracking_ shots, not pans.
Is there an old DePalma film that DOESN'T have one?
I can't recall if any of the 'bullet time' slo-mo shots in the Matrix films, or
subsequent action films that aped that technique, went all the way around But
I'm guessing there are
> My notion of "including Ono and Ackerman [sic]" is, you're right, wrongheaded.
Sorry if the double-negative was unclear, but I was saying including those
makers is NOT wrongheaded at all. The gag (I was going for a bot o' irony) was
that your thinking that doing so 'went against the grain'
> if you are coming from a Mac, the media players are all Windows-formatted
Not true. I have an old Seagate FreeAgent Theater+ HD media player that reads
HFS+ (Mac) hard drives and thumb drives. It also goes directly from the end of
one file to the next alphabetically w/o putting any display on
I have no experience with either of those shops, but I'll offer some general
comment on video gear service. Over the years, I had nothing but problems with
local, independent shops that were listed as service facilities for my
geographic area by the manufacturer. I resolved to only send repair
Making DIY Scoopic battery packs is pretty easy. I made a .pdf:
https://www.dropbox.com/s/pdfzutv84jcj370/scooby.pdf?dl=0
Original Scoopic packs used NiCad cells, which less run time than the newer
NiMH cells, and also have 'the memory effect' which NiMH doesn't. Even if you
revel an original
I don't have the OP, only Scott's reply, so I'm not sure what setup is desired,
But, in general, getting audio from a Pageant into a line-level input on
recording gear is more than just connecting cables: you'll want an in-line
isolation transformer to avoid ground loop hum, and a simple
> Empty city streets.
Force of Evil (Abraham Polonsky)
'I am Legend' and various similar post-apocalyptic films, e.g. '28 days later'.
Also maybe the current TV shows 'The Walking Dead' and 'Last Man on Earth'
(which i haven't seen…)
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> Those things have transformers inside them... not very good transformers, but
> transformers nonetheless.
Yeah, the quality varies. I've used some that worked fine. The thing is they're
not THAT cheap, you still might need an attenuator, and the Rolls direct box is
priced right at $25. I
> each segment has a slightly different length.
About ten years ago, I was showing (nostalgia) in class, pondering the duration
of the shots, looking at a watch occasionally as the edits went by, and I had a
kind of revelation: Each shot is a 100' load. I don't know if any one's written
about
> I'm currently laying it out in 42 point Verdanna, keeping it under 40
> characters per line…
Standard printing and screen fonts, like Verdana, are not good for subs. The
strokes are too thin and the detail too fine to render well in video and
provide maximum readability. There are a number
> I'm writing about the use of 16mm in experimental filmmaking of the 1970s and
> am looking for texts that deal with the history of film technology, scholarly
> sources that look, for example, at the emergence of 16mm as an
> amateur/documentary/artists' medium.
Hmm. If we distinguish
> the vast majority of artists working in 16mm from the '40s through the '60s
> did in fact use Kodachrome and Ektachrome. Color negative didn't even exist
> in 16mm until 1964, and very few "experimental filmmakers" used it much until
> the later '70s or even early '80s.
'Amateur' making was
i guess I’m the first to mention the obvious: Michael Snow, "Rameau's Nephew by
Diderot"
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I’m more techy-geeky than most. I once tried to get an old pageant arc
projector going in an effort to get a brighter image in our schoolo auditorium,
but gave up. The technology is not really suitable for infrequent use sans tech
support: there’s that massive old-school power supply driving a
> For those of you who might still be running OSX 10.6.8 on a Mac (for FCP
> editing, for example).
I’d heard that FCP 7 has ‘issues’ past 10.6.8, but also that it works fine on
Yosemite (10.10.5). I don’t do mobile, so I don’t care about iOS, but I’m
curious if Adam or others have info on
> The first film I'm thinking of is: Xmas on earth by Barbara Rubin ( 1963)
It’s a great piece, not really a ‘film’ but a two-projector performance…
But it’s not really about Christmas, and it might not be the best choice for
"an audience which will include people who have little to no
> I would get a projector first and get the lens for the projector
I would, too. But Benj wants a projector that will accommodate his looper, and
that may limit his choices.
> How does putting a magnifying element in front of a 50mm lens this compare
> optically to using a dedicated WA
The Man Who Invented Gold; Christopher Maclaine
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> I keep encountering auto-load projectors in 16mm and S8 mm that don't load
> for me. You push down the thingie at the top of the threading pattern to
> start auto-loading but when the film feeds in it goes straight up after the
> first curve without entering the gate. Do these projectors have
> You could adapt a barrel from a 16mm format to the 35mm format lens. If fits
> perfectly in my Bell and Howell 16mm projector.
B+H barrels are a lot wider than Eiki barrels, so that might not work for the
Eiki.
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Excellent advice from Scott. The heat is just a drying time aid. Less expensive
glue splicers don’t have heaters. Glue splicing is all about scraping
technique, good cement, and technique in applying the cement properly. It takes
some practice to do it right, so newbies should experiment on
I found the instructions for older models on the MovieStuff site. Roger Evans
had produced three different lines based on Eiki projector mechanism before
going exclusively to the “made totally from scratch” ‘Retro' units.
The earliest and simplest of these ran at standard projector speed, with
> I wonder if there is any alternative to it at a decent price (under 10 K?)
Did you really mean “under $10,000”?
Well, there’s the MovieStuff Retro, $4.500:
http://moviestuff.tv/moviestuff_home.html
Mr. MovieStuff, Roger Evans, used to make film scanners based on projector
mechanisms,
> If you're seeing lines on the edges of the frame, I'd wonder also if the
> blacks aren't really very black at all.
Careful there, though, Scott. You’re not going to get black blacks out of any
brand new ‘affordable’ video projector.
I have an Epson VS335W, which I bought in 2014 (~$525 at
Got a picture of the receptacle on the projector?
> If anyone has any suggestions about where I could find some for a reasonable
> price, they would be much appreciated. Or even advice about the part name or
> number!
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A more general way of framing the issue is that moving pictures have moved
toward ephemera, or, in a more historical vocabulary a spreading dominance of
’television'. How else could we explain the low adoption of Blu-Ray among both
individuals and institutions? HD-DVD is long dead, Blu-Ray
I know the request is for features, [just about everything by David Lynch, but
especially Eraserhead and Mulholland Drive] but there’s lots of recent TV that
goes into “inner states of mind” with mentally ill protagonists: including
‘River' [UK] about a haunted, hallucinating detective, the
On the versions of the dogleg Berthiot I’ve used, you can change the
orientation of the finder by unscrewing a ring at the rear of the barrel. Then
the barrel detatches from the C-Mount, and can be re-positioned, either freely
or to a different position fixed by tabs and slots, depending on the
Sorry Roger. Yes, yes, yes. TBTX Dance is PERFECT (maybe essential?) for the
theme of optical sound produced by non-traditional means, and unique afaik in
the use of laser printing. It’s also just a cool film, and the prefect (short)
length for a program that seeks to survey and explore a
> Mindless design. No optical viewfinder, just a flip out video screen. Plus,
> it is overpriced.
The projected price of the initial "limited edition” version is $2000, with a
less expensive “standard edition” supposedly to follow. It’s a film camera, so
the real cost is in the stock and
Nicholas wrote that the Kodak was designed by Logmar. I couldn’t find anything
about this online, but I assume since Nicholas has one of the Logmars, he’s in
touch with the company and knows what he’s talking about. Logmar apparently
made 50 units in one batch in 2014 and that was the end of
For an “essay film” I’d guess the way you’d incorporate only “some clips” would
be textbook Fair Use, and you shouldn’t have to pay anything for rights or
obtain permission from anyone. You can check out the American University Center
for Media and Social Impact (formerly The Center for Social
IIRC, J.J. had looked into Maclaine’s writing, and he might have some
photocopies of poems or the magazine, so i;d definitely contact him.
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Björn"
For non-blockbuster cinema on optical disc in SF, check Amoeba on Haight (near
Stanyan and GG Park). They have as good a browsing selection as you’ll find in
the US (since Mondo Kim’s is no more). There isn’t much experimental stuff on
disc of any kind, much less BluRay, so Ken’s right
IIRC, the old school method was printing the title on a card, white text on
black, and shooting it with special high contrast film, yes? Even if using an
LCD screen, it would seem the stock matters a lot. I ‘spose if you’re on a
certain budget, the LCD method lets you get decent results with
Belaboring the obvioius perhaps, but Hollis Frampton ‘Critical Mass’ and
‘(nostalgia)’ [each shot is one 100’ load]; Owen Land ‘Film in which…’; Robert
Nelson ‘Bleu Shut’; Barbara Rubin ‘Christmas on Earth’ [non fixed image-iaage
and image-sound relationships]; Michael Snow ‘<—>’...
From the Department. of I Can’t Beleieve This Hasn’t Been Mentioned Yet…
It’s not film per se, just proto-film, but how could you have a ‘vegetables on
film’ program without somehow includingn "Sixteen Studies from Vegetable
Locomotion" (1975) by Hollis Frampton & Marion Faller?
http://www.thedailybeast.com/the-sociopath-scholar-who-made-films-of-his-crimes-tried-to-confess-to-americas-most-famous-art-heist
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The old school workflow of workprint/conform/let the lab do the rest was
premised on making a number of release prints from the conformed original. I’m
assuming Esperanza asked her question because she wants to project the work
from photochemical film for some reason, not digitally. The
I wouldn’t suggest conforming any negative you care about yourself unless you
have plenty of experience both with handling negative and with a glue splicer.
Any dust or whatever that gets on the neg will show up in the print. It takes
technique to scrape just the right amount of emulsion off
You should first contact the programmer and ask if the jury has the ability to
view an HD digital file from a computer connected to whatever screen they use,
or just on the computer, if that’s how they’d view the streaming file. You’d
need to compress the Quicktime output to h.264 mpeg-4,
Uhh, Peeping Tom.
> I'm looking for movies (experimental or not) that feature the analog cinema
> machines (Man with a Movie Camera de Vertov, Kodak de Dean)...
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> "What I was picturing specifically was something where a movie goer at a
> cinema walks into the screen, or is otherwise drawn into it and finds
> themselves in that films world."
>
> Does VIDEODROME (1983) count?
Probably not, as the question is stated, but methinks it would be a useful
Reminds me I forgot Wes Cravens New Bightmare, which differs from Videodrome in
that the TV world there only overtakes Max’s reality, while in New Nightmare
the filmic world emerges into the diegesis as a whole, affecteing several
characters. Moreover, the diegesis is presented more as actual
Dan:
I assume if your students are enrolled in a college class, they’re at the end
of the spectrum formerly called Aspergers.
I once had such a student in a documentary production class. (Alas I learned
this ‘the hard way’ as he was apparently undiagnosed and his parents in denial.
But I have
If we take the concept of “clock” as ’time keeping device’ then it seems to me
that topic might include any motion picture works that foreground how the
medium keeps time: for example: any footage in the final product with timecode
burned-in, or time and date stamped. Also the use of the
Not exactly “contemporary”, but Bleu Shut by Robert Nelson
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If the camera sat for a long time with the spring wound, you might be in
trouble, as that causes the spring to lose force.
What you’re hoping is that the spring is OK, and the rest of the mechanism is
just gummed up from sitting. In which case you may only need a clean and lube
to get it
> I'm interested in 'linear film editing', as in cutting and splicing film at
> an edit bench or Steenbeck or however you do it.
That’s not linear editing. Physical film editing is non-linear, which means you
can edit anywhere in the piece you want by winding the reels to that spot.
Linear
Mary:
You might want to pick up an old filmmaking book that covers the different
processes on physical editing of photochemical film. E.g. Lenny Lipton’s
“Independent Filmmaking”.
A. There are two methods of putting the cut pieces of film together:
1) glue splices and
2) tape splices.
•
The End, Christopher Maclaine
Lots of ‘dark’ narration over black leader.
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> Does anyone know where I could get a replacement part? Or at least how to
> test the camera and see if the rough contact point is indeed the issue?
If the problem is indeed related to the battery contact, you wouldn’t need a
new part, just a rehab on what you have. From the photo it looks
Maybe Iraq Campaign by Phil Patiris?
https://is.gd/V3CqvY
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Missed this thread before…
The Filmo 16 dates from the 1930s and there were many iterations over the
years, including the military models used by combat photogs in WWII. Those
weren’t actually model 70’s, but basically the same guts.
Only the later Filmos are really modern enough to be
I agree that off-the-wall DIY transfers can be quite good, though I’ve mainly
done 16mm, not S8.
The two main things are:
1. The camera has to be capable of running at the same frame rate as the
projector. (e.g. 24fps, for 16mm). You may or may not need the frame sync
feature in the camera
> There are probably very few projectors that run at 24fps or 18fps even.
Actually 16mm projectors are pretty tight at 24fps. I did lots of 100’ roll
transfers with a standard Pageant into a Canon XH-A1, and never had to fiddle
with the A1’s “Clear Scan” setting. After all, old-school telecine
I’d look for a used DV camcorder with AV pass-thru. You should be able to find
one for under $50. Note, the camera section and tape transport dn’t need to
work, just the basic electronics. Connect your VHS to the camcorder input with
an S-Video cable, and capture to FCP or whatever...
Fake docs like 'No Lies' and 'Daughter Rite' don’t really question the concept
of truth in any profound way. They are also genre specific to Cinema Verite. If
anything, the problem with Daubghter Rite is that the gimmick of the fakery
subverts the theme more than it deepens it.
So you can
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