A problem with 'dance films' is that dancers and choreographers don't much like
film. They're always looking for film/video folks to shoot 'documentation'.
They want to see the whole body, they want to see the whole pattern of
choreography, they don't want the time and space they've so carefully
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 mis
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 pr
> 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 o
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 troll
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 movin
> 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 t
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 th
"One of the students got Super 8 processed at some random photo place in
the middle of Brooklyn."
They almost certainly just shipped it out, probably to Pac Lab.
On Tue, Sep 23, 2014 at 12:28 PM, Jay Hudson wrote:
> Funny thing is, when I was working at Millennium, one of the students of
> the
Rebekka:
It would help if you could explain your ideas some, e.g.
> I am particularly interested in any examples of filmmakers that were
> investigating the tableau vivant as a reference to a film frame and not to
> a painting.
>
What characteristics do you imagine any such references might displ
Living In Oblivion: the makers don't play themselves, but at least some of
the characters are based on the makers.
One P. M. (Leacock, Pennebaker, Godard)
Then there's the whole genre of documentaries beginning with a set-up of
the makers stating an (ostensible) intent to make a certain kind of f
Sandra Maliga wrote:
> The aesthetics and techniques of
> film and photography can be taught using digital equipment.
And Jeff Kreines replied:
> Well, no.
Well, yes and no... Everything Jeff says about the tendencies of the tools is
true. But a tool is just a tool, and in teaching, you c
> I can't tell you how many "media professionals" I've worked with who press
> the record button on the 7D
> and then proceed to tweak lighting or chose a different frame. Meanwhile,
> cast and crew are standing around twiddling their thumbs, anticipating a
> decision but without any real hope o
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 wrote:
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 eas
There are several problems with DIY Super8 telecine. If you have a standard S8
projector, it runs at 18fps, which just doesn't divide into 24, 25, 30, 50 or
60 very well. So you get flicker as one video frame will have less illumination
than the next due to the projector shutter being open and c
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 bio-art
> 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 o
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 f
> 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
> I have posted up here about a DIY HD telecine option with my 550D and still
> plan on building it but am swamped with work at the moment.
In my experience DIY telecine can work really well if the projector and camera
are running at the same frame rate. Specifically, I've shot film projected fr
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: almos
OK, I checked the 70DR for speed and it was right on within the limits of my
test method.
(I have some marked slug, and I roll 30 seconds off. I start and stop the
shutter manually by watching the clock, so it's not exact. Then I check to see
how much film went through the gate. I did it twice
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, B+
The old school way to do this was with a camera with a special 'TV' shutter
designed to eliminate sync problems. They were used to create kinescopes, the
only one I ever used was made by Auricon.
As, Phil notes, though, the effect of rephotography is different with an LCD
display than it is wit
Ken:
It would help if you could give us more detail. E.g. do the authors have to be
living? (If not, PK Dick would seem essential.) If we knew who you'd already
lined up it would help, as then we would have exemplars to suggest appropriate
complements and/or contrasts.
> It's important that t
> Never mind. It looks like they are projecting at 16fps.
> excellent.
Actually, they're projecting it at 18fps. They have an Eiki with a silent speed
pulley, which runs at 18fps, and they're borrowing my Pageant 250S for the
second projector, which also has a silent speed of 18fps. (I've check
> 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
For docs, there's 'Who Killed Vincent Chin' which is really good. 'Crisis' is a
classic, though it focuses on the Kennedys implementing their civil rights
program against the backlash from Southern States, not the work of the ground
roots rights organizers.
For inner-city folks versus the polic
Just accidentally sent a short individual msg. with a big image attachment to
the list. Sorry. Depending on your email client, you may be able to avoid
wasting bandwidth in loading that image by deleting the msg. before you open it.
apologies,
djt
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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,
> You can splice reg 8 with a 16mm joiner.
Once the standard-8 roll is split, after you pull the tape across on a 16mm
splicer and push down the trimmer you'll have a flap of extra tape off to the
side. But this is no big deal. On a lot of guillotine splicers the trimmer
blades are dull or a bi
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 o
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
> Like, who's in charge?
Who do you think? The upper-class family paying $60K a year to put their kid
through the 'selective liberal arts college,' or the underpaid un-tenured
professor who knows a college will receive a minimum of 200 applications for
her position if they boot her after a thir
> 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
mom
I went to the screening of 'Sleep' in Providence last night that has already
been the subject of some discussion on this list. I figured this was my one and
only chance to see this piece. I am 58, and I have never before been in the
geographical proximity of a screening of it (at least that i wa
> There are people who try to show film on film and can't, and
> there are some who succeed.
I did show film on film, not exclusively, but to the best I could manage.
> But even when you can't, you can talk about
> how the film shown on film actually looks,
Of course, I did that.
> and recommen
> 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 d
We've discussed here before the problems faced by festivals and other
exnhibitors one one hand and makers on the other, inherent in the proliferation
of different digital file formats. The problems of 'how do we put it all
together to play it?' and 'what kind of file should i send them?' While,
> 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 to
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
> I think Lenny Lipton even mentions the black frame method of hiding splices
> in Independent Filmmaking. It was definitely not something limited to
> Brakhage.
Yes. The 'invisible hot splice' of one black frame was a well-known,
widely-used technique back in the day for anyone shooting 16mm
> 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 t
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
> would the galleries have called if she didn't have famous friends?
I can't speak to specific case, but 'famous friends' definitely matter... if
they're "artists." As Shelly says, gallery representation is the key, and
galleries have to have something to sell. The exchange value of an art
comm
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 s
> 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
Given your examples, i think you might better describe the imagery as poetic or
figurative rather than abstract. That is, we see see images of identifiable
things, but they are not the explicit subject of the text. Yes?
If so, I would highly recommend you take a look at Crooked Beauty by Ken Pau
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 m
> In the behind the scenes video for shooting 'one small step', which they
> claim to have shot with the prototype, you can see that their shooting with a
> Prosilica GX2300 machine vision camera.
Well, their 'digital Bolex' would be adding a variety of stuff to that camera,
a sort of conversi
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 Techno
> 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 yo
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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There are three variables here:
how the DVD is authored
how the DVD player handles different SD aspect ratios
how the display device handles different SD aspect ratios
In other words, no matter how you author the DVD, you may still have 'issues',
depending on the playback components.
As Buck no
Entre Act Rene Clair (??)
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I'm all for droll humor, but I wouldn't call Wavelength a laugh riot. It's a
long wait before Hollis shows up. I think there's a lot of humor in Frampton,
especially Hapax Legomena 1-3 [(nostalgia), Critical Mass, Poetic Justice) but
it's subtle, and tickles the back of your brain more than boin
There are actually different kinds of guillotine (Catozzo-type) splicers, one
designed mainly for making workprint splices (one sided), and another designed
for making projector splices (two-sided): though you can use either for the
other with reduced convenience. The two-sided model cuts the ta
Kevin:
A tape splicer does two things:
1. cut the film on the frameline
2. hold the two ends in place so you can apply the tape.
The press-tape type splicer is very useful for task two. The press-tapes don't
require the kind of trimming and cleanup a less-than-perfect guillotine splice
is like
> 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 p
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 t
They're called telecine projectors. There were some made as 5 blade versions
originally, others converted after the fact. Mostly they're based on Elmos, a
few on Singer/Telex. Search 'telecine' on eBay. I have one I could sell you
inexpensively BUT I live in CT and the shipping would be ridoncul
To clarify, the OP requested advice on a cheapo projector-and-camcorder
transfer.
There are lots of reasons for people to do this, especially with work in
progress. It might even be considered a video work-print. However, for serious
work shot in film that is going to be distributed in digital
> so I found this on ebay
> http://www.ebay.com/itm/BELL-HOWELL-16mm-MAGNETIC-OPTICAL-Sound-Telecine-Transfer-Projector-Warranty-/250941802455?pt=US_Movie_Slide_Projectors&hash=item3a6d4c07d7
> and my question is, are all JAN projectors 5 blade?
I don't know, but that's ridiculously overpriced.
>
> 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
> I have 2 eiki ssl, and 2 bell and howell filmo sound projectors, none of
> which came with speakers.
These generally DO come with speakers, internal to the projector body. If
you're not getting any sound, the problem is more likely the sound circuit of
the projector, not the speaker. But as B
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 lo
>> 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 16m
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 noveli
Since the OP mentions a Zoom recorder, I assume John is looking only for audio.
When Scott says:
> If you try and do it over skype or something you have no control over their
> setup, or over the room acoustics.
he's on the right track.
That is, the first key point here is that the audio quali
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
You can splice standard 8 with a 16mm guillotine (Catozzo type). You just have
to trim the tape manually by running an X-acto blade down the edge of the base
before punching, and then punch twice moving the film in between so all the 8mm
sprocket holes get punched. The tape will cover two frames
> We use the word "image" flippantly. Is a painting an image? Students may
> think they've scene the Mona Lisa or a Kubrick film because they've seen them
> online, but a painting has weight and texture, a film has grain and material,
> and that is what we are seeing - not just the image of it.
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 gene
note that am 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. Than
On Jul 24, 2012, at 8:17 PM, Jason Stauffacher wrote:
>
> We are not Frameworkers.
Well then. Never mind.
<3
Ken
>
> On Tue, Jul 24, 2012 at 6:26 PM, David Tetzlaff wrote:
> Hello Frameworkers:
>
> Kennth Anger here. I recently took an extended trip to the Ast
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 s
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 al
Dear Friends:
Alter Elizabeth McMahon here. As you may be aware from recent posts to
Frameworks, I am having some issues with my cyberspace persona. I first noticed
my cyber-self was a bit constipated, but I concluded that this would pass (so
to speak) if I ate a toasted multi-grain bagel and w
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 reli
Dear List Demons:
It's a good thing interweb packets bounce through the astral plane, because
I've sprung a sprocket on my astral projector, and if it wasn't for Frameworks
I'd be getting bored.
So I noticed David Woods curious post, and using the all-seeing eye of truth
you can sprout up here
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 filmmake
> I have an idea. How about every member of frameworks chips in and we become
> stake holders in the print film production division of Kodak. We can sell
> shares at $100 a pop. I could do 10 shares and just eat ala Jack Smith for
> awhile, 2 day old oatmeal. Watching my cholesterol anyway.
>
>
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. You'll
> 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 th
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 wh
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 H
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