Does anyone have contact info for San Francisco Super 8 filmmaker Jose
Luis Rodriguez? When I asked a number of years ago, I just got the
phone number of a vintage store he might have worked at... so I'm
hoping he's gotten a little easier to track down.
Best,
Josh
Dear Frameworkers,
Could anyone please tell me how I can get in contact with Lucile
Hadzihalilovic?
Thanks in advance.
--
Cordialement,
Anastasia Tsarkova
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Gotta show 'em Rob Todd's Star Wars wipe-transitions edit...
On Wed, Aug 1, 2012 at 11:29 AM, Patrick Friel patrick.fr...@att.netwrote:
Hi All,
Looking for examples for the Experimental Editing class I'm teaching again
(solo this time!). I'm set with the actual experimental work, but want
There's a very good discussion of a scene in The Matrix and how the editing is
directed by Dolby 5.1 sound as the organizing principle for understanding space
and narration in the sequence where Neo enters a high rise office building and
with his companion and has to gun his way through the
I didn't write it. I just thought it was a bit of a giggle. Especially the line
I chose for the subject! ;)
You are right tho Chuck, if it encourages someone to have some fun then that is
surely a wonderful thing. :)
love
Freya
--- On Tue, 7/31/12, Chuck Kleinhans chuck...@northwestern.edu
Perhaps having not contributed /
followed FRAMEWORKS since its earlier incarnation when film
was film and frameworks was film, it is wasted energy to
complain / confront / oppose / question Freya's contribution
from back in June (Sent: 29 June 2012
Yowch! When did film stop being film!?
This made me really giggle after a couple of difficult days! Thankyou!
I think we definitely need to share the terror.
love
Freya
--- On Tue, 7/31/12, Thomas Dexter thomas.dex...@gmail.com wrote:
From: Thomas Dexter thomas.dex...@gmail.com
Subject: Re: [Frameworks] Trust your instinct and
I need a contact for Rick, which I got from this list before and can’t find
now. Thanks...___
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I was very sad to hear about the passing away of Chris Marker as you know,
although I had a big smile on my face that afternoon remembering all the things
I love about his film Sans-Soliel.
You can see that and a whole marathon of Marker at lightindustry on the 26th.
i did not know you lived in nyc - freya
On 8/1/12, Freya freya...@yahoo.com wrote:
I was very sad to hear about the passing away of Chris Marker as you know,
although I had a big smile on my face that afternoon remembering all the
things I love about his film Sans-Soliel.
You can see that
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
Process Red and Critical Mass by Hollis Frampton.
Matt
http://www.youtube.com/user/matthelme007
From: Tim Halloran televis...@hotmail.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Sent: Wednesday, August 1, 2012 10:12 AM
Subject:
Hey Jodie,
I thought the same thing. The keycode is in the metadata so you don't need
the window burn (except when you do).
My EDL did not match my neg because my flex files were a total mess.
Fotokem did the telecine to HDCAM, created the ProRes files and created the
flex files. I thought I was
From Hollywood, of course the classic editing scene is the shower scene in
Psycho. But, my highest recommendation for editing in main-stream film is
the amazing The Hurt Locker, which is the most tightly edited film,
throughout, that I've ever seen. And, it won an Academy Award.
Ken B.
Those
Hi, Lourdes,
It really depends on location, money and how much care you want.
On the boutique scale, I assume Film Technology still does 16mm. You can
start with my friend Zac Fink at filmtech...@earthlink.net. They did the
16mm fine grain on KILLER OF SHEEP before they blew it up to 35mm.
You
Hi Dennis,
Thank you so much. This is for NYMoMA where I just had a
Retrospective and they are acquiring eight of my films for their
archives, so it is really good work that I need. I also have some
films on video, and wonder if it's better to deliver them in DigiBeta
or in a a drive?
Dear Lourdes,
In any agreement with MOMA, make sure the contract specifies that your films
will be available for rental in the distribution catalogue effective X date,
and they will always keep prints/tapes available for rent. And other
details. MoMA is happy to throw things in their archive
*
*
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