Re: [Frameworks] HOW TO USE WITHOUT A BOX TO SUBMIT FILMS
can we return to the WAB discussion for a moment? The settings you are describing are essentially a moot point because the WAB video system compresses whatever file you upload to a DISASTROUSLY crappy/tiny/offensive video frame of, if I am remembering correctly 480x360. This coupled with the service, overall, being extremely spammy, expensive, poorly designed, ineffectual, especially for independent makers, turns me off to the entire thing to the point where I won't apply to a festival if they require a WAB entry and don't offer an alternative of at least a vimeo link send-in. I understand that festivals need tools to help them manage data, etc. But WAB seems like the worst possible solution. Are there more filmmaker friendly tools or projects out there to help with this problem? Do people know how we got so hooked on WAB hegemony? On Sat, Feb 15, 2014 at 4:21 AM, Peter Snowdon pe...@redrice.net wrote: Aaron, thanks! I guess my question was, what is the safest setting for multiple unknown computer/projector combinations...:) It seems 720p would avoid a lot of problems in itself. Peter Envoyé de mon iPad Le 15 févr. 2014 à 09:55, Aaron F. Ross aa...@digitalartsguild.com a écrit : It depends on what equipment will be screening the MP4 file. What is the native resolution of the projector? What is the computer that will be playing back the file? Encode the file to the maximum resolution and bitrate that the system can handle, and no more. Usually a 1080p master should be encoded at 20 megabits per second, two-pass variable bit rate encoding. This is Blu-ray standard quality. Certain types of footage, especially fast motion or flicker, may benefit from setting the compression keyframe distance explicitly. There's no way to recommend what that distance should be, it's totally footage-dependent. I would do an encode without a specific keyframe distance and see if the result looks good. If you are seeing frame blending or other artifacts, set the keyframe distance to 24 or 30, depending on source frame rate. That's one keyframe per second. If you still see artifacts, reduce the keyframe distance incrementally. If keyframe distance is set to the minimum of 1, then each frame is compressed individually (interframe) and there is no interpolation across frames (intraframe). This is an extreme setting that may cause more problems than it solves, but I'm describing options. The potential issue with high bitrate encoding is that the playback computer has issues playing it back. If the processor or hard drive is not fast enough, the playback will stutter and drop frames. This has happened to me personally, and it utterly sucks in ways I can't begin to describe. Therefore I suggest also encoding a 720p file as a backup in case the target playback system chokes on the 1080p file. Encode the 720p file at 10 megabits per second, two pass variable bit rate. Aaron At 2/15/2014, you wrote: While we're on this topic, I've just been asked for mp4 files for projection from a computer. Would any Frameworkers care to share settings they've used successfully? I'm working from 1080 masters, and I'm on a Mac, where I understand that all the mp4 presets sacrifice quality to compression. Thanks in advance, Peter Envoyé de mon iPad Le 15 févr. 2014 à 02:31, Aaron F. Ross aa...@digitalartsguild.com a écrit : Hey Sandra... You need an MP4 file. That means it's encoded using H.264 compression. Don't bother with Quicktime. Don't bother with any other compression types. They will take too long to upload. If it's standard definition (DVD quality), make sure it's encoded with a bitrate of at least 3 megabits per second. For 720p extended definition, go for 10 megabits per second. For 1080p full high definition, the bitrate should be 20 megabits per second. To give you an idea of resulting file sizes... 3 megabits per second will yield a file size of 23 Megabytes per minute of footage. 10 megabits/sec will be 75 Megabytes per minute of footage. 20 megabits/sec will be 150 Megabytes per minute of footage. Let me know if you have more questions. Aaron At 2/14/2014, you wrote: This is embarassing...as a FILMmaker I finally got used to submitting on DVD, and now...its Withoutabox to submit to Edinburgh Black Box. I have attempted to weed my way through the application but the first thing I need to know is what specs to give to the person doing the video transfer - what type of file are we talking about. Can someone help !?!?!?!? thank you, Sandra Davis ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks /x-flowed -- Aaron F. Ross, artist and educator http://dr-yo.com http://digitalartsguild.com ___
Re: [Frameworks] HOW TO USE WITHOUT A BOX TO SUBMIT FILMS
Yes, I hate it too. It takes forever on the filmmaker side and it generates a lot of unwanted submissions on the festival side of things. However, it does help a festival keep information organized AND it generates a lot of submission-fee revenue for all of those indie-makers blindly submitting to festivals that WAB and IMDB suggest is right for them. WAB is not only boring, annoying, and expensive, it creates ethical/political dilemmas for festivals and makers. With that said, I'm sure there are many examples in which WAB has helped artists/filmmakers connect with an appropriate festival. But, there's gotta be a better way. I'm sure programmers are all ears if people have a alternative solutions. - Warren On Feb 16, 2014, at 10:15 AM, chris bravo iamdir...@gmail.com wrote: can we return to the WAB discussion for a moment? The settings you are describing are essentially a moot point because the WAB video system compresses whatever file you upload to a DISASTROUSLY crappy/tiny/offensive video frame of, if I am remembering correctly 480x360. This coupled with the service, overall, being extremely spammy, expensive, poorly designed, ineffectual, especially for independent makers, turns me off to the entire thing to the point where I won't apply to a festival if they require a WAB entry and don't offer an alternative of at least a vimeo link send-in. I understand that festivals need tools to help them manage data, etc. But WAB seems like the worst possible solution. Are there more filmmaker friendly tools or projects out there to help with this problem? Do people know how we got so hooked on WAB hegemony? On Sat, Feb 15, 2014 at 4:21 AM, Peter Snowdon pe...@redrice.net wrote: Aaron, thanks! I guess my question was, what is the safest setting for multiple unknown computer/projector combinations...:) It seems 720p would avoid a lot of problems in itself. Peter Envoyé de mon iPad Le 15 févr. 2014 à 09:55, Aaron F. Ross aa...@digitalartsguild.com a écrit : It depends on what equipment will be screening the MP4 file. What is the native resolution of the projector? What is the computer that will be playing back the file? Encode the file to the maximum resolution and bitrate that the system can handle, and no more. Usually a 1080p master should be encoded at 20 megabits per second, two-pass variable bit rate encoding. This is Blu-ray standard quality. Certain types of footage, especially fast motion or flicker, may benefit from setting the compression keyframe distance explicitly. There's no way to recommend what that distance should be, it's totally footage-dependent. I would do an encode without a specific keyframe distance and see if the result looks good. If you are seeing frame blending or other artifacts, set the keyframe distance to 24 or 30, depending on source frame rate. That's one keyframe per second. If you still see artifacts, reduce the keyframe distance incrementally. If keyframe distance is set to the minimum of 1, then each frame is compressed individually (interframe) and there is no interpolation across frames (intraframe). This is an extreme setting that may cause more problems than it solves, but I'm describing options. The potential issue with high bitrate encoding is that the playback computer has issues playing it back. If the processor or hard drive is not fast enough, the playback will stutter and drop frames. This has happened to me personally, and it utterly sucks in ways I can't begin to describe. Therefore I suggest also encoding a 720p file as a backup in case the target playback system chokes on the 1080p file. Encode the 720p file at 10 megabits per second, two pass variable bit rate. Aaron At 2/15/2014, you wrote: While we're on this topic, I've just been asked for mp4 files for projection from a computer. Would any Frameworkers care to share settings they've used successfully? I'm working from 1080 masters, and I'm on a Mac, where I understand that all the mp4 presets sacrifice quality to compression. Thanks in advance, Peter Envoyé de mon iPad Le 15 févr. 2014 à 02:31, Aaron F. Ross aa...@digitalartsguild.com a écrit : Hey Sandra... You need an MP4 file. That means it's encoded using H.264 compression. Don't bother with Quicktime. Don't bother with any other compression types. They will take too long to upload. If it's standard definition (DVD quality), make sure it's encoded with a bitrate of at least 3 megabits per second. For 720p extended definition, go for 10 megabits per second. For 1080p full high definition, the bitrate should be 20 megabits per second. To give you an idea of resulting file sizes... 3 megabits per second will yield a file size of 23 Megabytes per minute of footage. 10 megabits/sec will be 75 Megabytes per minute of footage. 20
[Frameworks] portraits
Earlier I remarked on my ignorance of the art of Arnulf Rainer, knowing the name only as the title of a Kubelka film. Last week I discovered a chapter on his work (self-portrait) in Christine Buci-Glucksmann's The Madness of Vision: on baroque aesthetics (Ohio University, 2013). But it is interesting to see the uses an artist can be put to. For example, Anachronic Grosseteste: Frampton, Irwin, and the Medium of Moving Light, by Luke A. Fidler, affiliated with Northwestern University, was a paper on Hollis Frampton presented at a College Art Association session yesterday. The writer apparently has a degree in Medieval scholarship, and in the course of his paper offered a critique, if we can call it that, of the artist's use of Medieval sources. We were even shown via PowerPoint Frampton's translation of some Latin text. It was strange to hear about Frampton in this context, where nothing ever moves on screen, but it was important to the speaker that Frampton be identified as a kind of giant. The reputation of the artist served the interests of the speaker, and the paper really sucked. Bernie___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] portraits
Wait, it was Brakhage's scholarship that he impugned, not Frampton's. The translation was Frampton's but I forget the point it was supposed to serve in the paper. On Sunday, February 16, 2014 4:07 PM, David Tetzlaff djte...@gmail.com wrote: Sad, but predictable and perhaps even typical. I hope you spoke up at the session, Bernie, and went Medieval on the speaker's Ass-umptions.. Anachronic Grosseteste: Frampton, Irwin, and the Medium of Moving Light, by Luke A. Fidler, affiliated with Northwestern University, was a paper on Hollis Frampton presented at a College Art Association session yesterday. The writer apparently has a degree in Medieval scholarship, and in the course of his paper offered a critique, if we can call it that, of the artist's use of Medieval sources. We were even shown via PowerPoint Frampton's translation of some Latin text. It was strange to hear about Frampton in this context, where nothing ever moves on screen, but it was important to the speaker that Frampton be identified as a kind of giant. The reputation of the artist served the interests of the speaker, and the paper really sucked.___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] HOW TO USE WITHOUT A BOX TO SUBMIT FILMS
WAB is not perfect, but it's much better than the old way of spending up to $100 per submission in shipping fees alone! But festivals should all permit submission via artist website, Vimeo, YouTube, FTP. However, not all are that tech-savvy, and WAB makes it easy for them. Aaron At 2/16/2014, you wrote: Yes, I hate it too. It takes forever on the filmmaker side and it generates a lot of unwanted submissions on the festival side of things. However, it does help a festival keep information organized AND it generates a lot of submission-fee revenue for all of those indie-makers blindly submitting to festivals that WAB and IMDB suggest is right for them. WAB is not only boring, annoying, and expensive, it creates ethical/political dilemmas for festivals and makers. With that said, I'm sure there are many examples in which WAB has helped artists/filmmakers connect with an appropriate festival. But, there's gotta be a better way. I'm sure programmers are all ears if people have a alternative solutions. - Warren On Feb 16, 2014, at 10:15 AM, chris bravo mailto:iamdir...@gmail.comiamdir...@gmail.com wrote: can we return to the WAB discussion for a moment? The settings you are describing are essentially a moot point because the WAB video system compresses whatever file you upload to a DISASTROUSLY crappy/tiny/offensive video frame of, if I am remembering correctly 480x360. This coupled with the service, overall, being extremely spammy, expensive, poorly designed, ineffectual, especially for independent makers, turns me off to the entire thing to the point where I won't apply to a festival if they require a WAB entry and don't offer an alternative of at least a vimeo link send-in. I understand that festivals need tools to help them manage data, etc. But WAB seems like the worst possible solution. Are there more filmmaker friendly tools or projects out there to help with this problem? Do people know how we got so hooked on WAB hegemony? On Sat, Feb 15, 2014 at 4:21 AM, Peter Snowdon mailto:pe...@redrice.netpe...@redrice.net wrote: Aaron, thanks! I guess my question was, what is the safest setting for multiple unknown computer/projector combinations...:) It seems 720p would avoid a lot of problems in itself. Peter Envoyé de mon iPad Le 15 févr. 2014 à 09:55, Aaron F. Ross mailto:aa...@digitalartsguild.comaa...@digitalartsguild.com a écrit : It depends on what equipment will be screening the MP4 file. What is the native resolution of the projector? What is the computer that will be playing back the file? Encode the file to the maximum resolution and bitrate that the system can handle, and no more. Usually a 1080p master should be encoded at 20 megabits per second, two-pass variable bit rate encoding. This is Blu-ray standard quality. Certain types of footage, especially fast motion or flicker, may benefit from setting the compression keyframe distance explicitly. There's no way to recommend what that distance should be, it's totally footage-dependent. I would do an encode without a specific keyframe distance and see if the result looks good. If you are seeing frame blending or other artifacts, set the keyframe distance to 24 or 30, depending on source frame rate. That's one keyframe per second. If you still see artifacts, reduce the keyframe distance incrementally. If keyframe distance is set to the minimum of 1, then each frame is compressed individually (interframe) and there is no interpolation across frames (intraframe). This is an extreme setting that may cause more problems than it solves, but I'm describing options. The potential issue with high bitrate encoding is that the playback computer has issues playing it back. If the processor or hard drive is not fast enough, the playback will stutter and drop frames. This has happened to me personally, and it utterly sucks in ways I can't begin to describe. Therefore I suggest also encoding a 720p file as a backup in case the target playback system chokes on the 1080p file. Encode the 720p file at 10 megabits per second, two pass variable bit rate. Aaron At 2/15/2014, you wrote: While we're on this topic, I've just been asked for mp4 files for projection from a computer. Would any Frameworkers care to share settings they've used successfully? I'm working from 1080 masters, and I'm on a Mac, where I understand that all the mp4 presets sacrifice quality to compression. Thanks in advance, Peter Envoyé de mon iPad Le 15 févr. 2014 à 02:31, Aaron F. Ross mailto:aa...@digitalartsguild.comaa...@digitalartsguild.com a écrit : Hey Sandra... You need an MP4 file. That means it's encoded using H.264 compression. Don't bother with Quicktime. Don't bother with any other compression types. They will take too long to upload. If it's standard definition (DVD quality), make sure it's encoded with a bitrate of at least 3
