Are you familiar with Roger Beebe's 'The World According to Tommy'? It has some
similarities to your project, and you might want to take a look at it. In
thinking about Roger's piece, the one thing that strikes me about your idea is
that it seems you'll only have one maker per synopsis, thus
What's important about the Forbes piece is not the precise details (Kodak Park
may not be shuttered, but it was more or less a ghost town as of 5 or 6 years
ago), but the fact that a major business publication is looking at Kodak's
stock collapse as a sign of 'the end.' Forbes is not going to
I thought film was 4:3 just like SD video...
Wikipedia is your friend. The page below lists the gate sizes and both the
aspect ratio of the recorded image AND the aspect ratio as projected for more
film gauges than I ever knew existed:
http://en.wikipedia.org/wiki/List_of_film_formats
The
Having, somewhat regrettably, dropped what was probably the first Frameworks
f-bomb directed at Aaron F. Ross last June, I am nevertheless (hypocritically,
I'll admit) disheartened by the devolution of this thread in schoolyard ad
hominem cursing. I think it's time to just stop feeding the
For Super 8 a Minette, and for 16mm a Moviscop. These are the 'standard'
quality models - the 'Bolex's of the breed, if you will.
They don't scratch film (if you keep them clean). YOU might scratch the film
while using them, but that's not the viewer's fault. The most important thing
with
Could you explain a few term to me that you used in your message, this would
be extremely helpful for future reference. Although I got the gist of there
meanings some clarification would be awesome:
Vertical Masking
Dunno if that's a standard term, just my description for something that
I can't really tell how the device works exactly from the stills or video. It
appears that the large pedal driven disc is merely a shutter, and the video
camera looks through the shutter to something on the other side, and then the
video projector displays that image on the screen in front of
For anyone over, say, 21, and under 50, I'd bet 4:3 means first and foremost
'TV' and widescreen means 'movies.' So I'd guess what's going on is that people
like things that remind them of movies and dislike things that remind them of
TV. ?
On Oct 20, 2011, at 8:25 AM, Kevin Timmins
The only real reason for dimmers is to perform light cues, as in a stage
production. To simply adjust intensity on the subject, just move the lamps
closer or farther and let the inverse square law adjust the illumination. If
you need to have less bright lighting in a fixed smaller space, the
There are two good docos about call centers in India, where the workers keep
odd night schedules:
Sonali Gulati: Nalini by Day, Nancy by Night
Ashim Ahluwalia: John and Jane
Very different in style and POV, so not redundant.
Also, the guy whose rampage is the subject of the excellent doc Cul
What is it with Buffalo? Does the lake effect snow drive people mad?
I'm surprised Brose's site does not mention the case of Buffalo artists Steve
Kurtz, of the Critical Art Ensemble who was charged with terrorism under the
Patriot Act for possessing some harmless microbes he used in his
There must be another one
Not necessarily. The main 5A fuse probably covers the whole power supply, and
the audio amp is probably powered by a DC tap off of that. So it wouldn't need
it's own fuse (as it probably doesn't have it's own PS). If there was a fuse,
other than the ones accessible
Belaboring the obvious, I suppose, but I don't think anyone has mentioned 'Sans
Soleil' yet, (or 'Letter From Siberia' though AFAIK it's not ion distribution).
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Sounds painful, but of only limited relevance to the larger issue at hand. You
haven't experienced real projection hell until you've sat though a feature
projected from a color-faded 16mm print with a malfunctioning arc-lamp
lightsource -- which is how I first saw 'The Third Generation' (great
also of interest, women fighting in general.
The opening of Fuller's 'Naked Kiss' (woman/man, not woman/woman, but amazing
as filmmaking and gender representation)
several with women in fight competition:
The Next Karate Kid
Girl Fight
Million Dollar Baby
The whole 'babe's kick ass' subgenre
The key here is this quote from just below the lead:
taking photographs from a book about Rastafarians and using them without
permission to create the collages and a series of paintings based on them,
which quickly sold for serious money even by today’s gilded art-world
standards: almost
I've updated my little 16mm resources webpage -- http://djt16.110mb.com/ --
with the addition of some camera manuals. These are (mostly) .pdfs made from my
own scans of stuff not already freely available on the web AFAIK.
Specifically, I have service manuals/diagrams for Bolex H16, Filmo 70,
But if one is going to the trouble of presenting actual film, why not round
up a couple of the correct projectors
Easier said than done. If you're screening with dual projectors for reel
changes, they ought to have the same brightness and CT lamps and the same focal
length lenses, no? The
That graphic I was sending to Josh Guilford notes an interesting feature of the
Pageant 250S, which relates to the whole discussion of how projection affects
the 'look' of a film, not just the duration.
Almost all projectors have a 3-blade shutter, so at 16fps they flicker 48
time-per-second,
If you can't find one, you can make one DIY with a rotary tool (Dremel-type) or
a hacksaw. Take the Bolex to the hardware store and look/ask for steel tension
pins. These are little cylinders with a slot down one side. (The slot is so
they can be squeezed together a bit, forced into a hole, and
With 20-20 hindsight, we can see that the writing has been on the wall for the
end of the co-op system as a sustainable form of distribution since May 10,
1975: the release date of the first practical home VCR.
Co-op distribution attempts to replicate in the fine-art world the business
model
I genuinely hope we can have a discussion, starting with the question of 'what
really matters?' I have my own thoughts, but I want to hear what other people
think and see if maybe some new ideas might emerge, you know, in dialogue.
Why is 'experimental film' important? Why does 'the world' need
I am beginning to look into the creation of (don't know what to call it) a
consortium of colleges, universities, archives, etcetera--places that want to
continue to have the option to show prints--who would, in addition to paying
rentals for screening individual films, pay an annual fee to
At the risk of bringing up an old issue here, I am disturbed that nowhere in
the debate is it mentioned that there is a unique aesthetic value, for many
films, to presenting them as originally intended, on film.
Not true because we haven't even had a debate. I posited that we are in a
Maybe we should start throwing out all those silly old books, too.
Just FYI they are throwing out the silly old boks, too.
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I'm guessing from the OP that only Ferris Bueller counts as what Gene is asking
for, the others being examples of interior monologues. Another question, Gene,
is whether you are seeking examples of this that occur as exceptions within
more conventional narrative address, or only instances that
Actually to be more precise, I was thinking that CO is in the same mode
as Sunset Blvd ... which it is, but neither of them satisfies Gene's
original request, because they're in *past tense*. I haven't seen The
Opposite of Sex so I can't tell if it belongs.
It's grammatically past tense too,
Shane:
Just quickly seconding Deco's excellent recommendations. When external drives
fail, the most common problems are 1) the connection between the power supply
brick and the case has gone bad, 2) the power supply brick itself has gone bad,
3) the data connection port on the case (especially
Two quick comments on Jon's reply:
1. One of the advantages of the standalone media players such as the WD or the
Seagate FreeAgent Theater is that they will read hard drives in all the major
formats: NTFS (current PC), FAT (old PC), or HFS+ (Mac). Thus there need be no
issues with the FAT 4GB
Speaking of Meshes of the Afternoon, One shot has always bugged me, because
as far as I know,
Deren and Hammid made this film entirely on their own, filming each other.
The shot that bugs me is the only one in which you see both of them: he
stretches out his hands to pull her out of the
Marilynn, implicitly if not explicitly, poses the question: How is it that
filmmakers are not considered 'artists' within the 'art world'? To
FRAMEWORKers, that question is surely rhetorical. Of course, filmmakers are
artists, and it's simply silly for anyone to draw the sorts of distinctions
Great post Myron!!
Myron wrote:
The film commodity would have to be dealt with in a way that even a great
piece of photography does not require.
That's a valid point, but I wonder if it might cut both ways. That is, the cost
of maintaining a film might initially be a hurdle for museums
Anyone can walk by a painting liking it or not, but sitting in a darkened
room as a captive audience may not have quite as many dedicated fans
True. But people who walk by a painting not liking it aren't exactly fans. One
of the benefits of a proper theatrical screening space is that viewers
This is bizarre. For $3300 you get an awkward, non-orientable b+w finder, and a
silly faux crank mechanism and non-ergonomic handgrip to make it kinda resemble
a Bolex?
Since the sensor and the viewfinder are spec'ed at 4:3, why are the two output
resolutions spec'ed at 16:9?
Why don't they
From the Auricon Sound Yahoo Group:
Kodak says Kodachrome may come back
Posted by: Jack Honeycutt
Wed Mar 21, 2012 3:27 pm (PDT)
Cross post from 3D users group (from today):
I just attended (last night) a SMPTE meeting of the Hollywood Chapter.
The subject was The Technology and
Does anyone know of any cine-specialty bookstores in New York City?
I do not know any specialty stores, but, of course, you'll want to check the
relevant sections at The Strand.
There might be some books at Mondo Kim's, and the clerks there would probably
be able to (condescendingly) point
They'll be fine, as long as it's a parallax Bolex, not a reflex. Lots of K-100s
came equipped with some of those kodak-mount into c-mount lenses as standard.
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Entre Act Rene Clair (??)
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as a festival programmer will a filmmaker feel that that film will have an
unfair chance at my festival?
If so, that's there problem. An experienced maker should understand that your
own personal interests are not necessarily those of the festival you direct.
You should be free to support
You need a 5 blade projector if you're shooting 29.97.
You can use a standard projector if your camera will shoot 24fps.
Sell the Sony, and buy a used Canon XG-A1.
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If you really want HD for sketches and tests, then borrow an XH-A1 (or similar)
and project the film onto a piece of matte board (more smooth and even than a
wall) getting the camera as close to the projector as possible to minimize
parallax. The results can be surprisingly good. Probably best
If you're looking for a cheap way to make acceptable-grade copies of
films, consider one of the Elmo film chain units.
Bad idea. The camera technology is circa mid-1980's. Results not so good... And
people selling them usually want alot of money.
It's a camera built
inside a projector
On Jun 29, 2012, at 10:22 PM, Tom Whiteside wrote:
It should also give you a ground lift switch, well worth having for those
instances when you want to get rid of a 60 cycle hum.
Which is pretty much all the time.
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In 1980, an upright Moviola would have been all but worthless. Lord, those
things were awful compared to a flatbed. A 6 plate Moviola flatbed in good
condition might have been worth, I dunno, maybe $1000.
On the other hand, used splicers and rewinds weren't that expensive in 1980 and
haven't
With that equipment list, the premise just doesn't work very well. The
heyday of value for 16mm post stuff probably starts to poop out circa 1975,
so it wasn't that expensive by 1980, and some of it is still used by people
who deal with prints.
So what were people editing 16mm film
What I don't get is why people are quibbling about the prices, when the issue
here is that the basic premise of the OP -- that falling value of 16mm
production gear from 1980-2005 provides a serviceable plot point for the
narrative of a novel -- is weak and questionable regardless. If the
Jonathan:
Aaron's right. Digital is not one thing. Neither is film. Coincidentally, just
this morning I was at the archivist seesion at the Silent Film Festival in SF,
and it was all about digital restoration. The guy who restored Dr. Strangelove
showed the 4K digital restoration flipping back
Thanks, James, for the link to that piece on LCD sets in stores. Great stuff.
When I say 'digital is not one thing' I am not engaging in any kind of generic
'pro digital' advocacy, because many of the things digital can be are pretty
sucky, and it takes effort to find those that are not. In
NOT in Nigeria, and i would never pull any kind
of sham, scam or masquerade on my true devotees. So, send as much cash as you
can in brown envelopes (no checks, credit cards, or PayPal) to this address:
David Tetzlaff
7 Sycamore Road
Niantic, CT 06357
Thank You. Thank You. Thank You. And know
Dearest Brett:
I can't sign anything right now, as my spirit is completely disengaged from
corporeal body. I would be happy to sign something on my return, but alas,
unless my minions collect enough money to construct the proper Orgone generator
and fire it into my brain my return is hardly a
Ara:
Crack? I got on better with Marianne, Mick, Jimmy and all the rest when we on
'shrooms. While, I cannot say anything but do what thou willst you still may
want to watch out for the rocks.
your friend,
KA
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Dear Fred;
There's no sin in being in the minority, or the majority if that's the case,
because there's no sin. Yes, life is too short for this sort of 'creativity' or
any other. The joy of meaninglessness is in the eye of the beholder, and I am
happy to discover that some seem no utility at
I believe you can obtain Black Leader at WhiteHouse AV.
On Jul 26, 2012, at 6:16 AM, Gawthrop, Rob wrote:
its the white leader problem
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Since you want cost to come together with features and reliability, I'll assume
Beaulieus, stock or rebuilt, are out. I'd say it hard to do better than the
various iterations of Canon 814 and 1014. For something cheaper than that, you
might look at a Sankyo, but I think they're not quite as
The opening of 'Don't Look Now'. Works great with students.
Also Roeg incuts sex with a tracheotomy in Bad Timing which, while
'experimental'ish (Eisensteinian for sure) may be dicey for students due to the
subject matter.
As in the montages in 'Requiem...' narrative filmmakers often turn to
WWHHD
(What would Helen Hill do?)
:-)
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What kinda American Cinema of 50s list leaves out Robot Monster! WTF?
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What do YOU want to get out of your studies?
Outside of the industry-oriented schools (USC, FSU, Chapman etc.) the main
reason people seek an MFA is it's considered a terminal degree, and thus the
minimal qualification for most college teaching jobs.
If you just want to become a better
It's actually not that hard to sync up 'wild' sound to transferred film footage
within a video editing program such as Final Cut or Premiere. First, make sure
you do sync claps at the beginning and end of each shot. Then modify the audio
duration and/or film duration to match one another.
From what I've read online its rare to hear about a good experience with
Pro8mm.
From what I've read online it's rare to hear about ANY film lab that doesn't
have both it's champions and it's detractors. Motion picture film labs are
generally small businesses with one of two people doing the
Yes, John. I read the whole thread. No, it's not an acceptable mistake. My
point is that I've heard similar stories about just about every lab. I have
never used Pro8 myself (I haven't shot S8 in decades), but I have met Phil
Vigeant who strikes me as basically a good guy. And I have a friend
Be careful of the Digital-8 camcorders. I never knew anyone who had a digital
camcorder who didn't have a broken digital 8 camcorder. If Jeff says they give
good results when working, I absolutely take his word for it. But caveat emptor
when buying a used one, and don't pay too much.
A lot of
Jack:
It might help if you could define the borders of the cinematic domain you want
to include/exclude. I assume it's not exclusively experimental/avant garde, but
are you also including standard Hollywood fare*, crappy exploitation films (as
well as hip, self-aware stuff), documentaries,
Preferably someone you've dealt with, or good word of mouth, with contact
info. And in the U.S. someplace.
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What kind of Beaulieu is it?
Actually, I have a clockwork R-16 that seems to have a bad spring motor. The
run is really short and it poops out at the end instead of running strong until
it stops. I was hoping to find someone who specializes in Beaulieau service
because I have a number of
Brilliant film, that. Cool that you want to screen it.
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I think this is what Royce meant, but if you have not seen this in 16mm dual
projection performance, you have not seen it at all.
As most of you know, I'm not a celluloid fetishist, and I think good digital
projection of a good video transfer is fine for the majority of experimental
work. Yes,
YouTube keeps changing their system, breaking the popular video downloaders for
Firefox: e.g. Download Helper doesn't work now. Right now I'm using ByTubeD
which isn't a super simple 1-click thing, but it's not hard to understand and
it works. You need to be using Firefox, not Safari.
On Jan
The car chase in Bullit
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The recent British indie: The Berberian Sound Studio
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There's the shot in Riddles of the Sphinx where they're watching the film her
husband is working on. I think it may be on a flatbed, rather than projected
IIRC, but close enough.
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There was an American Indie feature from the 90s (I think) set primarily in the
Uptown Theater in Minneapolis. I can't remember the name of the film or the
director (a woman who passed tragically at a relatively young age, IIRC). I
don't recall if any of the characters were projectionists, they
Ken:
Set your export audio to 48K for FCP.
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You might not even need transformers. If a projector has a belt or pulley
change for 50/60 Hz, that would indicate it was designed to be sold in both
Europe and North America with only minor tweaks. So I would suspect there's a
transformer inside the projector that can be wired for either
Mary Jane's Not a Virgin Anymore
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Not nec. film specific, but there's tons of stuff on appropriation, collage,
copyright and fair use. Much of it is related to audio collage as both an avant
garde practice and pop culture 'mashups'. The discussions are generally
applicable to found footage films, though.
An essential text is
A circle matte no larger than the size of the dust particle was made, then a
piece of the frame just before or after the dust spot--in its exact
position--was captured then laid over the offending piece of dust. That's it!
Worked like a charm. Perhaps David T can weigh in on his method?
A nice method - must have had many many layers in the timeline and lotsa
effects - slow renders... and I hope he had lots of memory!
Just two layers, and not that many effects. Just multiple iterations of the
garbage matte on those frames with more than one nasty dust spot. There was a
I'm thinking of films that are being used as a medium to either: explore the
nature/experience of memory and how it works
Unstuck-in-time narratives can be considered tropes of memory: Renais' J'Taim,
J'Taime; Catch 22, Slaughterhouse 5...
Films framed as memories of a narrator: Little Big
I took out the lens and noticed that there is a thick dark red grease on the
threading of the lens itself, and also buildup in the threading connected to
the focusing knob. I don't know much about thisshould I clean this
buildup or do I need more grease? Could this be reason why the
I would suggest that sound is an under-discussed matter in Hollis Frampton's
films, most notably 'Critical Mass.'
The sound/image relationships in Bruce Conner's 'Report' might also be worth
consideration.
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You might show Christopher Maclaine's The End as an example of the
incorporation of Beat literary style in film. The soundtrack can be considered
a reading of a work of Beat literature written specifically for the film. (And
it's readily available on DVD.)
The single black frame invisible splice' technique is for cutting reversal.
It's extremely hard to edit negative without mucking it up, which is one reason
the normal routine is to cut a workprint and leave the conforming to a pro.
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It's a pretty obvious example, but (nostalgia) is [among other things] an
auto-critque of Frampton's work in still photography.
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Well, first, the only way the scales are tipping in any venue is toward digital
projection. Setting up a 16mm micro-cinema requires finding a working projector
that won't eat prints, finding the increasingly rare short and fast lenses that
will fill a decent sized screen, and dealing with
I'd recommend getting your film transferred to the highest quality codec
available, then converting it to whatever you need on your own (or a friend's)
computer (if you don't have a Mac).
HD-CAM IS NOT FULL 1080P RESOLUTION!
It's a now technologically obsolete tape format that uses an
The problem for the filmmaker in the digital age is that there is absolutely no
standardization between different screening venues. Some folks want files, but
only take certain codecs and containers (and different ones at different
places, of course...). And some folks want physical media:
I second Marco's rec. of Pioneer optical drives. I don't have a Pioner BR
burner, but I've had many, many DVD burners of different mfr., and the Pioneers
have consistently produced the best burns and been the most reliable. I've had
three LG BR-burners. One of them (older) died, but the latest
My fave insect on an island movie isn't experimental: Sherman's March. You must
respect the authorita of the Blood Sucking Cone Nose!
On Dec 19, 2013, at 9:18 PM, Chuck Kleinhans wrote:
Are these two separate things (any or all insects; any or all islands), or do
you mean insects living on
I'm looking to help a friend do research on the history of documentary, and I'd
like to introduce him to some of the more experimental side of the form. For
his purposes, the work needs to available on video: he needs to see stuff, not
just read about it, and he needs to be able to pull decent
Bryan McManus wrote:
I'm not a well-represented somebody, not sure if that matters
Alas, it does. My apologies for not being clear enough in the OP. My friend's
project involves tracing 'the historical development of the documentary.' What
that means is, in short, that the works to be
Yes, the function still exists. It's part of the DVD spec. It's just that
almost no one makes use of it. Still, every DVD remote I've seen has a function
to change the video angle. It just does nothing because the discs only have one
angle available.
To create a multi-angle DVD, you would just
I am interested in alternatives to the standard and classic structures of
women as victims (even if they are the ones committing the murder,…) or of
male/female relationships,..
From the 'mainstream', but I think 'Bound' would be essential.
Then there's (barf) 'Basic Instinct'.
'Run Lola
Oh yeah, and 'Mulholland Drive'.
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- The BBC's Miss Marple (amateur, elderly spinster detective).
British TV / Female Detective / Feminism = 'Prime Suspect' with Helen Mirren
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Is it possible to remove an optical reader from a projector and make it run
independently?
Theoretically, yes, but it would be quite difficult. The device would need to
contain the exciter lamp, the optical pick up, a film path with rollers between
the two, the power supply for the exciter
I'm not up on the latest projector technology. I'm wondering-if/hoping-that
technical advances have created an answer to the question above.
Historically, you could divide video projectors into three types:
1. LCD: bright, with vivid but typically wildly inaccurate color rendition —
both in
I believe all the Eiki 2 projectors have magnetic sound. Are your loops
striped with mag sound? If not, I'd think 0 Eikis would be cheaper.
Could someone tell me the difference between an Eiki-NT2 and Eiki SNT-2?
Well, for one thing, they have different thread patchs. Both are
auto-threading,
I was going to say Anger is probably best contacted by means of The Astral
Plane...
Maybe using arcane methods like John Dee's mirror... Just kidding.
I am also looking for this as the email provided on his website doesn't
elicit a reply. That could be intentional though I suppose.
'Meshes...' being maybe the ultimate anti-valentine, it's antithesis The
Private Life of A Cat would be a non-ironic Valentine's Day pick.
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