[Frameworks] Videofreex screeing at Interference Archive in NYC

[chris bravo]

hello NYC FWs!

We are screening a bunch of Videofreex related material this weekend at the
Interference Archive in Gowanus:

http://interferencearchive.org/whats-that-for-an-extended-conversation-with-the-videofreex/

And on Saturday we are screening a re-edit of original Freex material
edited by original Freex Skip Blumberg, who will be in attendance:

https://www.facebook.com/events/791414420995455/

come out if you can! all free

-Chris
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Re: [Frameworks] Sally Berger, film curator, fired at MoMA

[chris bravo]

"An online petition is likely all that anyone can do"

there is a lot of energy here in NY to confront issues around sexism and
racism in curatorial practice. particularly at the moment there are people
trying to bring pressure to bear on Anne Pasternak, the Brooklyn Museum and
their cozy relationship with real estate developers. here are a couple good
projects off the top of my head (I am sure there are others) if people want
to get involved:

http://notanalternative.org
http://occupymuseums.org




On Tue, Jun 21, 2016 at 8:23 AM, Chris Kennedy 
wrote:

> "At the very least, it seems to me that someone who cares about this
> curator should try to do the work a good journalist would do and get to
> the bottom of the situation. An authoritative analysis that could show
> the firing was really wrong might actually help." -Fred Camper
>
> That's a nice idea, but journalists at least have institutional protection
> against libel laws. Any organization even half as  big as MoMA has a large
> HR dept and is lawyered up to prevent the bottom of the situation from ever
> being reached. In short, no one besides Berger's immediate confidants and
> those that did the firing are ever going to know what happened. An online
> petition is likely all that anyone can do, unless local NYers are willing
> to boycott the MoMA.
>
> Chris
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Re: [Frameworks] Sally Berger, film curator, fired at MoMA;

[chris bravo]

just to clarify, I brought up the vaxxed situation because it also seems
like a moment where a big powerful institution (tribeca) was held
accountable for a REALLY bad programming decision (including vaxxed in the
festival). It seems (on the outside) like a moment when tribeca recognized
that it needed to firm up its institutional character and to counter a
reactionary push from powerful autocrats (de niro).

i agree that there seems like way more to this story than we know. However,
yanking a film because (as far as we know) a hypothetical compromise of
MOMA's emails, is super bad programming. we are all in agreeance on that,
right?

institutional character matters.

"presents a different dilemma for MoMA than it does for Facets or Film
Forum"

not really. the right-wing lunatics have largely left culture off their
kill lists for the time being. (probably because they did such a good job
destroying public art in the 80's lol). Don't we want our cultural
institutions to hold themselves accountable and to be courageous? If this
were journalism, and a publication pulled a story because of outside
pressure, we would be going ballistic. With MoMA, I think you can argue, it
matters EVEN MORE because there is no accountability process, no
transparency. We have to TRUST that they acting as they should.

"due diligence"

is taking reasonable steps to protects your servers. (definitely not the
responsibility (or concern) of the film programmer)



On Sun, Jun 19, 2016 at 10:22 AM, Dave Tetzlaff  wrote:

> > 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 argument
> seems the same: large, powerful, "important" cultural institutions need to
> get their shit together because its scary out there.
>
> WTF? Curators make programming choices. Most work does NOT get picked.
> That's not censorship. Yes, institutions should support artists under
> attack from the prevailing powers that be, but that's not the case here.
> Under the Sun has already been widely screened at festivals, received some
> commercial bookings, and generally been praised. North Korea is angry,
> though, which presents a different dilemma for MoMA than it does for Facets
> or Film Forum, as MoMA is big enough to be a  target for hacking that would
> actually harm the institution. MoMA drops one film from it's festival ––
> their loss since people want to see it -- out of due diligence for the
> museum's security, and the film just screens somewhere else.
>
> If anything, Sally Berger helped promote Under the Sun by activating the
> Streisand Effect. If her choice to drop the film from the Doc Fortnight was
> indeed the reason for her dismissal, as Su freidrich says, that's "insane!"
> Of course, that may just be an excuse for something else – and who knows
> what the real story might be...
>
> Vaxxed? Seriously? Andy Wakefield isn't a film artist. He's a scam artist,
> and public health menace who exploits kids with ASD for profit. Wakefield
> conned Grace Hightower and Robert De Niro, and RDN stuck Vaxxed onto the
> Tribeca schedule going around the programmers, (and against their
> objections, apparently). It was hardly 'censorship' when De Niro took it
> off the schedule since it already had a commercial distributor, and they
> had already lined up the commercial booking at the Angelika. The film
> demeans and stigmatizes neuro-atypical kids, is full of documented
> falsehoods and blatantly mendacious editing, and just plain sucks as
> documentary art. Again, there are only x-many screening slots at any venue,
> and the choice to show something is also a choice NOT to show something
> else. The real censorship in the works at Tribeca was some worthy
> documentary submitted through proper channels getting passed-over so De
> Niro could screen a piece of hack-work propaganda as a 'personal privilege'.
>
> Sheesh.
>
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Re: [Frameworks] subtitle question

[chris bravo]

I did a project recently that involved a ton of subtitles, but that were
already formated in .srt files. here are a couple links to tools for
managing that in FCP X:

http://www.digital-heaven.co.uk/dh_subtitlex

http://www.spherico.com/filmtools/TitleExchange/XTI/index.html

X_title is 40 bucks and worth every penny! if you decide to create your
own .srt file and go that route. basically you would create the .srt file,
and then X-title imports the .srt file into FCPX and AUTOMATICALLY
GENERATES TITLE CLIPS!!! yay!

The formatting is not such a huge issue because FCP X allows you to BATCH
CHANGE PARAMETERS!yay if you group select all the title clips you
can change the font, font size, stroke, etc all at once. the question then
becomes a design issue, i believe. i agree with the person above that
having super long lines of text is v annoying to scan while you are trying
to watch a movie. cinema=eye-trace








On Thu, May 12, 2016 at 5:30 PM, Francisco Torres 
wrote:

> smpte seems to have guidelines for subtitling of DCP
>
>
> http://mkpe.com/digital_cinema/isdcf/transition/2011-3-2-SMPTE-Interop-DCP-Guidelines-with-Accessibility.pdf
>
> 2016-05-12 16:58 GMT-04:00 Chris Freeman <
> christopherbriggsfree...@gmail.com>:
>
>> When reading it can be hard to track a long line of text that goes all
>> the way to the edges of the screen.  That's probably why it's recommending
>> you keep it short.  You don't want your viewers to have to think about
>> moving their eyes from left to right and missing the visual action.
>>
>> Also make sure your line breaks make sense with the phrasing of what the
>> characters are saying.
>>
>>
>>
>>
>> On Thursday, May 12, 2016, Dave Tetzlaff  wrote:
>>
>>> > 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 of specialized fonts,
>>> or weights in large font families, used for subtitles. I can't recall any
>>> of the specific names, but if you Google 'subtitle fonts' you can find some
>>> useful discussions of the issues, and also recommendations.
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>>
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>
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Re: [Frameworks] negative conforming recommendation

[chris bravo]

you should talk to colorlab: http://www.colorlab.com/

On Sat, Feb 20, 2016 at 10:43 PM, lindsay mcintyre 
wrote:

> Catherine Rankin in Hamilton, ON might be able to help him, possibly even
> without requiring the re-scan.
> catherinerankinproducti...@gmail.com
>
> Lindsay McIntyre
>
>
> On Thu, Feb 18, 2016 at 8:21 AM, Kevin Obsatz 
> wrote:
>
>> Hello Frameworks!
>>
>> I’m looking for a recommendation on behalf of a friend. He’s putting
>> together an installation that includes a 26 minute looping 16mm projection.
>>
>> Currently he has an edited digital scan of the black and white negative
>> (without edge numbers, possibly a mistake) and he needs help either
>> conforming the negative and making a print, or getting the scan itself
>> printed back to film.
>>
>> If he needs to get the negative re-scanned with edge numbers to make it
>> work, that’s okay.
>>
>> Can someone recommend an individual or lab who would be willing to take
>> on this type of project? He can pay standard rates, not seeking a discount
>> or a deal.
>>
>> Thanks!
>>
>> -Kevin Obsatz
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>
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Re: [Frameworks] Berlin Film

[chris bravo]

Klaus Eisenlohr at the Berlin Director's Lounge is great:
http://directorslounge.net/

On Fri, Feb 19, 2016 at 4:50 PM, Kiernan  wrote:

> Hi Frameworks,
>
> I'm moving to Berlin in a month and I want to get involved with the
> Experimental Film/ Art cinema scene there. I'm from both SF and LA and have
> worked as a curator for the Artist's Television Access (SF) and with Echo
> Park Film Center, Filmforum, etc in LA.
>
> I can only assume that there are many similar type places in Berlin and I
> wanted to gather some info on your collective experiences and knowledge.
> Anything would be appreciated!
>
> All the best,
> Kiernan
>
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Re: [Frameworks] Tech help - extracting clips from DVDs

[chris bravo]

hi Tanya! have you tried mpeg streamclip?

http://www.squared5.com/

http://wikis.evergreen.edu/computing/index.php/Ripping_a_DVD_-_MPEG_Streamclip

On Tue, Nov 3, 2015 at 3:56 PM, tanya goldman  wrote:

> Hi Frameworkers,
>
> I've been having a recurring tech issue and hoping some experts can offer
> some guidance. Please respond back under separate email if you have any
> thoughts.
>
> I often extract film clips from DVDs for teaching and embed them into my
> PPTs.
>
> However, I have increasingly run into issues with VLC and Handbrake and no
> one I have spoken to has any suggestions —the images often appear
> corrupt/pixeled in Handbrake; the sound and image separate on VLC (sound
> plays for about 10-20 seconds before image starts). This occurs with my
> transfers from both older and new DVDs so I do not think that anti-piracy
> coding is to blame.
>
> I was curious if anyone has run into similar problems and has any work
> arounds. Alternatively, what other software (preferably free or low-cost)
> is available that I can use?
>
> I have a relatively new Mac laptop and I've uninstalled/reinstalled both
> programs.
>
> Thank you,
> Tanya
>
>
>
>
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Re: [Frameworks] Matrix

[chris bravo]

or you might be thinking of that scene in batman returns when Christian
Bale is trying to find Liam Neeson who is disguising himself in a pack of
ninjas.

On Mon, Apr 20, 2015 at 5:58 PM, Beazley Kanost beazley_kan...@my.uri.edu
wrote:

 I think it begins in The Matrix Reloaded and continues when all people
 become Agent Smith in the Matrix Reloaded.

 On Mon, Apr 20, 2015 at 5:39 PM, Lady Snowblood 
 snowbloods.para...@gmail.com wrote:

 All the Agent Smiths? Or camouflaging “the good guys”?

 On Apr 20, 2015, at 4:37 PM, Gene Youngblood ato...@comcast.net wrote:

  Friends,
  Which one of the Matrix movies has a scene where a crowd of people are
 dressed exactly the same, so that the one being targeted can’t be
 identified?
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 Department of English
 University of Rhode Island
 114 Swan Hall
 Upper College Road
 Kingston, RI
 Phone: 401-874-5931
 Fax: 401-874-2580
 Dissertation: Off the Hip: a Thermodynamics of Cool


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Re: [Frameworks] Response to Gene Youngblood

[chris bravo]

Saying that a film makes students want to commit suicide isn't a critique,
its an offensive derogatory statement, which is directed not just towards
the filmmaker, but towards her students especially.

On Tue, Mar 31, 2015, 1:27 PM Dave Tetzlaff djte...@gmail.com wrote:

 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 heads.

 I took Sasha's OP as meant to advocate for films that have a sort of
 perspective not-yet presented in the thread -- works one perhaps could call
 more 'post-modern' engagements with culture and identity. I took the crack
 about Wavelength as essentially tangential and polemic -- an observation
 that many contemporary students are not much engaged with the aesthetic
 concerns of that work. It's not clear whether Sasha's pique was directed at
 Wavelength specifically or 'mid-century High modernism' in general -- i.e.
 maybe all 'structural film' and/or Brakhage abstractions etc.?? Regardless,
 intentionally or not, her language was destined to stir the pot, make some
 folks feel poked with a stick, and fire off testy replies.

 No film is beyond criticism, including observations that whatever it's
 merits for other situations, it's a poor choice for a given programmer or
 teacher's goals in addressing the specific audiences they have at hand.
 Sasha's snark was phrased as too universal: seeming to suggest Wavelength
 is no longer any good to ANY group of curious, excited young artists.
 But, indeed, I'm sure there ARE groups of curious, excited young artists
 without a background in cinema who would find Wavelength alienating, at
 least initially, and it's perfectly valid to pass on that film for an
 introduction to experimental film in favor of something more immediately
 engaging to the group at hand.

 As Gene so pungently observed, the problem starts with the absurdity of
 Donal's original query. First, the 3 films concept makes no sense, since
 experimental films range in length from a few minutes to several hours. (My
 gag 3: Star Spangled to Death, Sleep, The Extravagent Shadows... no
 intermissions or bathroom breaks!) Second, essential is just silly and
 off-point. Unlike Hollywood films directed at mass audiences and respecting
 a common set of conventions, experimental works are often very personal,
 and incredibly varied in form and content. Thus, what works are and aren't
 essential is not remotely universal, but conditional and contingent on
 for whom? and for what purpose? Third, this variety and specificity
 means trying to crowd-source a list of '3 essentials' is utter folly, that
 can only lead to unproductive arguments if people play along.

 In the thread OP, Donal didn't tell us anything about his own approach to
 the realm of the moving image or what kinds of art practices and
 aesthetics the folks attending the workshops will be coming from. For all
 we know, the attendees could all be middle-aged ceramicists or landscape
 painters. Ultimately, he needs to pick works that speak to him in some way
 he thinks will enable him to use them to engage 'noobs'. So it is with any
 instance of programming films. The work must 'fit' the programmer, the
 audience, and the purpose.

 Given the lack of info in the query, responses have (as one would expect)
 presumed teaching or exhibition situations with which the posters are
 familiar: Andy and Gene spoke of their students; Sasha referred to YOUNG
 ARTISTS. But I read the OP as posing an audience of experienced working
 artists who presumably already have some sort of aesthetic perspective,
 rather than the sort of student population that would sign up for a studies
 course in experimental film.

 Just as there is no universal 3 essential films, there is more than one
 valid pedagogical approach to introducing noobs to experimental cinema.
 Sometimes you want to ease folks in, showing work that has some familiar
 elements. Meshes is probably the most widely used introduction to
 experimental work, and over the decades so many of its elements have been
 incorporated into pop culture (advertising, music video, etc.), and it's
 subject matter (angst at gender roles and domesticity) is so enduring, that
 it offers a variety of access points. That works. But for some groups being
 introduced to experimental work, what I call 'deep end of the pool
 pedagogy' can work as well or better — tossing the initiates into the
 strangest water possible w/o a life-jacket, then tossing a safety line into
 the trashing if it's not getting anywhere...

 Andy and Gene speak of student appreciation of Wavelength, but under what
 conditions? What courses have they taken before? Is Wavelength the FIRST
 screening on the syllabus? Sasha's put-down seemed to me to posit
 Wavelength as a poor choice for 

Re: [Frameworks] Response to Gene Youngblood

[chris bravo]

Clearly my rhetorical excesses with regards to Wavelength

your rhetoric wasn't excessive it was offensive.

On Tue, Mar 31, 2015 at 9:22 AM, Sasha Waters Freyer swfre...@vcu.edu
wrote:


 Mr. Youngblood,

 Clearly my rhetorical excesses with regards to Wavelength offended you.
 However, turning a critical disagreement over a 48-year-old film is no
 excuse to attack my ability as a teacher or to dictate my responsibility
 to my students. I will chalk this exchange up to your passion for Snow's
 work, and not an inherent rudeness of your character.  I accept your
 apology in advance.

 Yours,


 Sasha Waters Freyer


 On Tue, Mar 31, 2015 at 3:02 AM, frameworks-requ...@jonasmekasfilms.com
 wrote:

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 When replying, please edit your Subject line so it is more specific
 than Re: Contents of FrameWorks digest...

 Today's Topics:

1. Re: VSW - to your attention! (Bernard Roddy)
2. Looking to purchase a JK Optical Printer (Christopher Harris)
3. Re: 2. Re: What are the 3 Essential Films that you would show
   Artists on their first foray into the Moving Image Realm ?
   (Bernard Roddy)
4. 3 sound works (Bernard Roddy)
5. Re: 2. Re: What are the 3 Essential Films that you would show
   Artists on their first foray into the Moving Image Realm ?
   (direc...@lift.on.ca)
6. Re: VSW - to your attention! (Amanda Christie)
7. Re: 2. Re: What are the 3 Essential Films that you would show
   Artists on their first foray into the Moving Image Realm ?
   (Kelly Gallagher)
8. Re: 2. Re: What are the 3 Essential Films that you would show
   Artists on their first foray into the Moving Image Realm ?
   (Francisco Torres)
9. TONIGHT 3.30 7pm - Jonas Mekas 365 Day Project - Part 3 -
   March at Microscope, Mekas in person w. pizza and rootbeer
   (LBurchill)
   10. Re: 2. Re: What are the 3 Essential Films that you would show
   Artists on their first foray into the Moving Image Realm ?
   (George, Sherman)
   11. New photo essay posted to flickr (Emile Tobenfeld)
   12. ed Reflections of Life: American Indian and Indigenous
   filmmaker screening series this week at California Institute of
   the Arts. (Nate Cummings)


 -- Forwarded message --
 From: Bernard Roddy rodd...@yahoo.com
 To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
 Cc:
 Date: Mon, 30 Mar 2015 08:51:36 -0500
 Subject: Re: [Frameworks] VSW - to your attention!
 Squeaky Wheel in Buffalo.

 On Sun, Mar 29, 2015 at 3:30 PM, Amanda Christie 
 ama...@amandadawnchristie.ca wrote:

 Thanks for sharing Walter!

 I also have a question on a similar subject for the group.

 I'm going to be doing a radio-art residency in upstate new york next
 fall (late October), and I was thinking of driving down with a few 16mm
 projectors and a bunch of my prints... I thought it might be nice to set up
 a sort of mini-road-trip-style-film-tour while I'm in the region (either on
 my way to or from the residency).  I can do screenings, performances, and /
 or teach some workshops. In addition to films, I will also be travelling
 with theremins, radio gear, and basic electronics, so I could also teach
 workshops in those fields too if anyone is interested.  I'll definitely get
 in touch with Tara at VSW.


 Does anyone on the list have other recommendations of places or people
 to talk to?  I've never set anything like this up before, but I figure,
 that since I'll have a car, and films, and projectors... why not?

 Any suggestions of places or people to contact in the New York state or
 surrounding areas would be much appreciated.

 Thanks so much!


 Amanda Dawn Christie
 
 506-871-2062
 www.amandadawnchristie.ca
 ama...@amandadawnchristie.ca
 ___



 On 2015-03-29, at 3:56 PM, Walter Ungerer wrote:

  Dear Frameworkers,

 I’d like to draw your attention to the Visual Studies Workshop in
 Rochester, New York. It’s a study facility for film and photography. Last
 week I had a film showing there of my more recent work. First, I’d like to
 thank Tara Nelson for offering the venue to me to show my work. Quite
 wonderful. The facility has excellent projection and sound equipment and a
 large screen. Tara’s husband Gordon Nelson (audio engineer), and Tara’s
 assistant Ray Ray Mitrano (public relations) effectively completed the
 staff . I’ll add a probing and very appreciative audience to my
 description, as a culmination of my presentation.

 I would send this message of appreciation privately to 

Re: [Frameworks] Islands in experimental film and video

[chris bravo]

Sohn Su-bum Island to Island is GREAT


On Sun, Jun 22, 2014 at 6:39 PM, Mark Toscano fiddy...@gmail.com wrote:

 Peter Mays' indescribable DARK ISLAND.

 Mark


 On Jun 22, 2014, at 2:31 PM, Pigott, Michael m.g.pig...@warwick.ac.uk
 wrote:

  Dear Frameworkers,



 I'm putting together a piece about the use of islands as locations in
 recent experimental film and video. I'm focussing on Ben Rivers'* Slow
 Action* and Simon Faithfull's* Stromness*. I am building a list of other
 work that involves islands at the moment, and I would be very grateful for
 your suggestions of other experimental and artists' work (recent or
 historical) that are about islands or use islands as locations.



 Thanks in advance!



 Michael Pigott



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Re: [Frameworks] Islands in experimental film and video

[chris bravo]

i would also be remiss if I didn't add my own (and Lindsey Schneider's)
Rikers Island video The Island is Ridiculous. Now with 3 YT hits!

https://www.youtube.com/watch?v=LmM-xy0W2LI


On Sun, Jun 22, 2014 at 8:01 PM, franco base frenk.ca...@gmail.com wrote:

 Alla short documentary by Vittorio de Seta. In the 50' he  filmed italian
 island.



 Il 22/giu/2014 23:31 Pigott, Michael m.g.pig...@warwick.ac.uk ha
 scritto:
 
  Dear Frameworkers,
 
 
 
  I'm  de together a piece about the use of islands as locations in recent
 experimental film and video. I'm focussing on Ben Rivers' Slow Action and
 Simon Faithfull's Stromness. I am building a list of other work that
 involves islands at the moment, and I would be very grateful for your
 suggestions of other experimental and artists' work (recent or historical)
 that are about islands or use islands as locations.

 
 
 
  Thanks in advance!
 
 
 
  Michael Pigott
 
 
 
 
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Re: [Frameworks] Film Festivals in General.

[chris bravo]

This is an interesting topic, maybe a few points to add, maybe not totally
thought out, but I am currently doing festivals with a film so I have been
spending a lot of time thinking about these issues, particularly as they
pertain to documentary festivals.

- Yes, I wish festivals didn't charge fees, it definitely feels very
scammy, especially in the Without-a-Box era which is a debilitating
humiliation festivals are perpetrating on filmmakers. But backrooming fee
waivers is at the heart of the problem, right? I mean that's a serious
structural inequality because who is going to have leverage in that system?
A young person from a fly-over film school with an off kilter movie? And
the (in my opinion) disturbingly conservative/repetitive/samey programming
happening in american festivals I think bears this out. Professional
programmers who spend all year schmoozing and glad handing (AND GETTING
PAID) is not a system that works very well, and its not a system that
filmmakers can access by sending plucky emails to programming directors. I
feel that the only fools pay entrance fees is a bit blaming the victim.
(You didn't say exactly that, but I have heard it). There is no real
alternative.

- I think the good news is that, while festivals have bent over backwards
to ingratiate themselves to economic forces (True/False, Rooftop Films, Hot
Docs), they have rendered themselves almost completely useless at actually
helping filmmakers find an audience for their work. They are so completely
focused on a pseudo entrepreneurial eco-system of media making and
distribution that that nobody pays attention to them but themselves. EG:
These partnerships that festivals are promoting with bizarre, off-brand,
online streaming sites is sad to see. It seems to me, from my observation,
that even though it SEEMS that festivals are indispensably important for
filmmakers, in actuality they have never been more superfluous. Whatever
the audience for your film, festivals (generally speaking) are not really
going to help you build it. There are way better ways to engage communities
of people and get your work in front of them.


On Tue, May 27, 2014 at 4:01 PM, Medford Reinhardt 
medfordreinha...@gmail.com wrote:

 This article by Sean Farnel is relevant to what you're saying:
 http://povmagazine.com/articles/view/towards-a-filmmaker-bill-of-rights-for-festivals

 A few more thoughts:

 1) This is just in my opinion of course, but you shouldn't ever pay a
 festival entry fee. Send an email directly to the programer with a write-up
 or a link to part of or the entirety of the film. Ask if they're
 interested. If they're not, you've saved money, and if they are interested,
 you will almost never be asked (in my experience) to supply that entry fee.
 The dirty little secret of most film festivals is that a HUGE amount of
 what is shown comes from solicitation and from private correspondences.
 Only a small percentage of submissions are actually accepted. I have had
 many conversations with programmers that have corroborated this.

 2)  A film festival often cannot logistically expand its dates. Finding
 the space and infrastructure to screen films often occurs the year prior to
 the festival, and predicting the number of entries is of course impossible
 at that time. Still, I understand your frustration. But any festival that
 receives entries that are comparable to the number of slots they have is
 just not getting enough entires.

 3) Let festivals know when they are being shitty. I suspect filmmakers are
 often timid and afraid to confront these kind of behaviours for fear of
 being cast in a negative light, but I suspect that most festivals would
 take it very seriously.

 4) Something very important to remember. Amazing films get rejected from
 festivals all the time, for a wide variety of reasons: too much
 representation from one country, having too many films that work in the
 same style, a film that can't be placed into any of the existing shorts
 programs. There are many reasons and every year, programmers often will
 pass along films to other festivals because of this. A rejection from a
 festival is not a judgment of quality. If the programmers are worth a damn,
 it can have many other meanings around it.


 Medford

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Re: [Frameworks] Workshop/Masterclass?

[chris bravo]

union docs in brooklyn does this sort of thing: http://www.uniondocs.org/


On Tue, May 6, 2014 at 6:12 AM, Ingo Petzke i...@petzke.biz wrote:

 Fellow Framworkers,

 A friend is turning 50. As a present, I am toying with the idea of his
 participation in a workshop or masterclass. Does anybody know of such an
 event or is the whole idea perhaps too far-fetched? Any ideas/suggestions
 warmly appreciated.

 Ingo

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Re: [Frameworks] Screen Recorders

[chris bravo]

I use this a lot:
iShowU
https://itunes.apple.com/us/app/ishowu-hd-pro/id449093286?mt=12

and its pretty easy to get for free if you are open to thievery


On Wed, Apr 23, 2014 at 7:59 PM, Aaron F. Ross
aa...@digitalartsguild.comwrote:

 Camtasia is the gold standard for screen capture. I use it professionally
 on a daily basis. It *does* capture absolutely everything, picture and
 sound.

 The main issue with screen capture software is the cursor. It is on a
 different plane overlaid on the rest of the desktop. Some software does not
 even capture the cursor at all. Camtasia works around this by capturing the
 cursor commands and generating its own cursor. So it does have minor
 issues. For example, if you zoom in on the screen using Magnifier, the
 cursor is the wrong size and place.

 But generally, Camtasia is pretty foolproof. It uses a proprietary codec
 that is lossless and very, very efficient. It's worth the $300 price tag if
 you use it regularly.

 Aaron




 At 4/23/2014, you wrote:

 There are a number of screen recording products, like Bulent Screen
 Recorder for PC, that promise to capture anything that appears on your
 screen. Is that true? Anything? No exceptions?
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   http://dr-yo.com
   http://digitalartsguild.com

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Re: [Frameworks] query for those who teach filmmaking

[chris bravo]

assembling TV news programs

what do you mean by this? Seriously, I think there is a critique of FCP X
to be made, its just that I NEVER actually hear it. Feels like it is
intended for that can't make any sense. OH, THE CHILDREN!


On Fri, Apr 18, 2014 at 8:54 AM, Scott Dorsey klu...@panix.com wrote:

 FCP X feels like it's intended for assembling TV news programs instead of
 feature films.  That's probably fine for some things, but it depends what
 you're trying to teach.
 --scott
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Re: [Frameworks] query for those who teach filmmaking

[chris bravo]

not flexible enough to accommodate the experimental work we wanted to
support

this doesn't mean anything either. is a steenbeck flexible? Is a guillotine
splicer and rewinds flexible? Do you really think experimental work has not
been made on FCP X?


On Fri, Apr 18, 2014 at 11:39 AM, Esorp es...@aol.com wrote:

  After considerable discussion at my institution we chose to migrate to
 Premiere.  While there were some amongst us who were quite comfortable and
 enthusiastic about FCPX, the consensus was that it was not flexible enough
 to accommodate the experimental work we wanted to support nor compatible
 with much of what the industry was doing.  I started with an early version
 of Premiere, quite loved it, resented FCP until I grew to quite like it,
 and am now quite comfortable with the newest version of Premiere.  Our
 students have had no trouble picking it up, indeed there are some fine
 tutorials on Lynda.com that are designed for users of FCP7.  (Students, in
 general, have no trouble picking just about anything up.)  Advantages-
 Premiere ingests just about everything- no need to fret about converting
 H.264's, or MTO's; it handles multi-layered structures without the need for
 rendering (on a decent machine); much of the interface is similar to FCP7.
 Disadvantages: CS6 has some very annoying ways of handling markers and
 nested sequences, but these seem to have been addressed in the Creative
 Cloud version.   And this leads to the major factor, elicited by an earlier
 respondent:  the pricing structure for the Creative Cloud version.  You can
 no longer just buy the software; you have to lease it, an addiction every
 bit as nefarious as smack.  The argument is that one doesn't have to
 constantly upgrade to resolve software issues- but this comes at the
 considerable cost of a demoralizing dependency.  We managed to get some
 kind of institutional deal from Adobe, but i don't know the details on
 this.  I know of a number of other artists who bought their own copies of
 FCP7 or CS6 and are just sticking with them, but that won't work if you've
 got an IT department that insists, as they all do,  on making maintenance
 the primary consideration..

 Peter Rose

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Re: [Frameworks] query for those who teach filmmaking

[chris bravo]

I really don't get this idea that FCP X is dumb? What do people mean by
that? FCP X is obviously not dumb, are you referring to features? Clip
tagging with keywords, for example, is totally innovative and forward
thinking (it seems to me) and allows an editor to navigate through more
footage more quickly and organize it more intuitively and
idiosyncratically. (Intuitively I think means in a way that makes obvious
sense to the editor). Comparatively Premiere and AVID are way behind on
that front. Magnetic timeline the same, once you become comfortable with
the behaviors, its a much more stable timeline than the normal sequence
strucutre and allows you to edit sections of a long cut with much greater
confidence that you aren't fucking up the sequence by rippling tracks in
ways that aren't obvious. Timeline inspector the same. In one window you
can quickly get an overview of everything that appears in the timeline and
quickly naviagte to specific clips and monitor their states. (Oh, wait, you
don't know about that feature? Please continue expressing ill-informed
opinions, though.). XML exporting the same, FCP X exports far and away the
most detailed xml of any editing software and allows incredible flexibility
moving projects into audio and online software. And anyways do people
really think that somehow Apple is maliciously contributing to the
stupidification of media production rather than, say, ADOBE? that is an
insane position to take. Use whatever program you like, but this
witch-hunting is tiresome.


On Thu, Apr 17, 2014 at 9:53 PM, Beebe, Roger W. beebe...@osu.edu wrote:

 On the original topic of editing software, I’d throw my weight behind
 switching to Premiere.  At the University of Florida, I experimented for a
 semester with FCPX, and I found it buggy  dumbed down in ways that made it
 hard to do things that I’ve come to expect from my editing systems.  The
 magnetic timeline is one of the worst innovations I’ve ever encountered,
 and the commingling of audio and video tracks just makes everything look
 chaotic.  I’m sure I could’ve applied myself  gotten more familiar with
 the quirks of this system, but I preferred instead to switch over to
 Premiere, which had much more of the feel of FCP 7 and also had the
 advantage of integrating seamlessly with Premiere and After Effects.

 I’m also on the UFVA list and this discussion has come up frequently.
  FCPX does have a few defenders, but it has produced much more
 dissatisfaction.

 I’ve just relocated to Ohio State, and we’ve started anew in Premiere.
  The person who had been teaching the video classes here was teaching FCPX,
 but he seemed excited to switch over after the troubles he’s had with FCP.

 As for hardware, here at Ohio State, our labs all have iMacs.  The older
 ones really do slow down when you attempt to do anything slightly complex;
 even the newer ones are noticeably slower than the Mac Pros I left behind
 in Florida.  It is a great cost savings though, and if you only have to pay
 with your time, it just depends on how much you’ll hate having to go make a
 pot of tea while you render a sequence.  It’s certainly not impossible to
 do interesting, layered work on an iMac though.

 2 cents,
 R.

 On Apr 17, 2014, at 9:42 PM, Aaron F. Ross aa...@digitalartsguild.com
 wrote:

  I would steer clear of iMacs for video editing, they are underpowered.
 If you want to render HD video, it's going to be slow and painful on even
 the high end iMacs. The Mac Pro is very fast, but very expensive. It is
 only available with small solid state drives, so you have to buy additional
 external hard drives.
 
  Aaron
 
 
  I disagree with $4000.  A 21 iMac - what a school would likely be
 running Final Cut on - starts at $1299.  I assume there are bulk discounts
 for schools, but they likely already have the computers.
 
 
  --
 
   Aaron F. Ross, artist and educator
   http://dr-yo.com
   http://digitalartsguild.com
 
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Re: [Frameworks] query for those who teach filmmaking

[chris bravo]

iMovie isn't dumb either. In 2000-2001 ish there was a major move away from
FCP 3 (at the time) to iMovie, and a lot of professional editors  edited
exclusively on iMovie, including Zach Stiglitz and Art Jones, I believe.
So, yeah, the iMovie as derogatory slur doesn't make much sense to me
either. And who cares about the professional market anyway? So your
evidence that FCP X is dumb is that because post house refuse to edit car
commercials on it. Yeah, that's not dumb at all.


On Thu, Apr 17, 2014 at 11:00 PM, Richard Sylvarnes rsylvar...@gmail.comwrote:

 Apple is very direct in their intention to make FCPX more favorable to the
 consumer and IMovie user. They recognize that the professional market is
 too small for their bottom line. Therefore, yes, they are dumbing it down.
 Why, otherwise, is every professional editor I know either switching or
 have otherwise switched already or are still working with FCP7?

 On Apr 17, 2014, at 10:51 PM, chris bravo wrote:

 I really don't get this idea that FCP X is dumb? What do people mean by
 that? FCP X is obviously not dumb, are you referring to features? Clip
 tagging with keywords, for example, is totally innovative and forward
 thinking (it seems to me) and allows an editor to navigate through more
 footage more quickly and organize it more intuitively and
 idiosyncratically. (Intuitively I think means in a way that makes obvious
 sense to the editor). Comparatively Premiere and AVID are way behind on
 that front. Magnetic timeline the same, once you become comfortable with
 the behaviors, its a much more stable timeline than the normal sequence
 strucutre and allows you to edit sections of a long cut with much greater
 confidence that you aren't fucking up the sequence by rippling tracks in
 ways that aren't obvious. Timeline inspector the same. In one window you
 can quickly get an overview of everything that appears in the timeline and
 quickly naviagte to specific clips and monitor their states. (Oh, wait, you
 don't know about that feature? Please continue expressing ill-informed
 opinions, though.). XML exporting the same, FCP X exports far and away the
 most detailed xml of any editing software and allows incredible flexibility
 moving projects into audio and online software. And anyways do people
 really think that somehow Apple is maliciously contributing to the
 stupidification of media production rather than, say, ADOBE? that is an
 insane position to take. Use whatever program you like, but this
 witch-hunting is tiresome.


 On Thu, Apr 17, 2014 at 9:53 PM, Beebe, Roger W. beebe...@osu.edu wrote:

 On the original topic of editing software, I’d throw my weight behind
 switching to Premiere.  At the University of Florida, I experimented for a
 semester with FCPX, and I found it buggy  dumbed down in ways that made it
 hard to do things that I’ve come to expect from my editing systems.  The
 magnetic timeline is one of the worst innovations I’ve ever encountered,
 and the commingling of audio and video tracks just makes everything look
 chaotic.  I’m sure I could’ve applied myself  gotten more familiar with
 the quirks of this system, but I preferred instead to switch over to
 Premiere, which had much more of the feel of FCP 7 and also had the
 advantage of integrating seamlessly with Premiere and After Effects.

 I’m also on the UFVA list and this discussion has come up frequently.
  FCPX does have a few defenders, but it has produced much more
 dissatisfaction.

 I’ve just relocated to Ohio State, and we’ve started anew in Premiere.
  The person who had been teaching the video classes here was teaching FCPX,
 but he seemed excited to switch over after the troubles he’s had with FCP.

 As for hardware, here at Ohio State, our labs all have iMacs.  The older
 ones really do slow down when you attempt to do anything slightly complex;
 even the newer ones are noticeably slower than the Mac Pros I left behind
 in Florida.  It is a great cost savings though, and if you only have to pay
 with your time, it just depends on how much you’ll hate having to go make a
 pot of tea while you render a sequence.  It’s certainly not impossible to
 do interesting, layered work on an iMac though.

 2 cents,
 R.

 On Apr 17, 2014, at 9:42 PM, Aaron F. Ross aa...@digitalartsguild.com
 wrote:

  I would steer clear of iMacs for video editing, they are underpowered.
 If you want to render HD video, it's going to be slow and painful on even
 the high end iMacs. The Mac Pro is very fast, but very expensive. It is
 only available with small solid state drives, so you have to buy additional
 external hard drives.
 
  Aaron
 
 
  I disagree with $4000.  A 21 iMac - what a school would likely be
 running Final Cut on - starts at $1299.  I assume there are bulk discounts
 for schools, but they likely already have the computers.
 
 
  --
 
   Aaron F. Ross, artist and educator
   http://dr-yo.com

Re: [Frameworks] LGBT Archival Footage, Home Movies Wanted

[chris bravo]

Sharon Hayes too.
http://www.shaze.info/
I saw footage that she found by a filmmaker that shot protests in the 70s
and 80s in G. Village. I can't recall this persons name. But she uses a lot
of archival, besides


On Tue, Apr 1, 2014 at 1:04 PM, Francisco Torres fjtorre...@gmail.comwrote:

 Prelinger archives -1920s Lesb. silent short
 https://archive.org/details/0717_Is_Your_Daughter_Safe_erotica_16_29_22_00


 On Tue, Apr 1, 2014 at 12:12 PM, Warren Cockerham 
 warrencocker...@gmail.com wrote:

 Stephen,

 You should contact Gregg Bordowitz. I know he shot a lot of HIV/AIDS
 protest footage in NYC in the late 80s and early 90s. He can probably lead
 you toward other archival sources.

 http://www.greggbordowitz.com/contact.html

 best regards...
 Warren


 On Mon, Mar 31, 2014 at 3:51 PM, Info i...@oddballfilm.com wrote:


 Hello:

 Searching for any LGBT archival footage-ie protests, HIV/AIDS, lifestyle
 footage from the 1940s to 1990s for doc project.
 Anything with minorities, people of color encouraged.


 Best regards,

 Stephen Parr
 Director

 Oddball Film+Video
 www.oddballfilm.com
 Oddball Films
 www.oddballfilms.blogspot.com

 275 Capp Street
 San Francisco, CA 94110
 Phone 415.558.8112
 Fax 415.558.8116


 For a link to our latest projects:
 oddballfilm.com/projects_2013.pdf
 http://letterboxd.com/oddballfilm/lists/

 Follow us on facebook and Twitter!
 http://www.facebook.com/oddballfilm
 http://twitter.com/Oddballfilms

 On Mar 27, 2014, at 5:00 AM, frameworks-request@jonasmekasfilms.comwrote:

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 frameworks@jonasmekasfilms.com

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 When replying, please edit your Subject line so it is more specific
 than Re: Contents of FrameWorks digest...


 Today's Topics:

   1. Re: FCPX Plugin to remove dust and dirt? (Francisco Torres)
   2. Re: FCPX Plugin to remove dust and dirt? (Mary Stark)
   3. Re: FCPX Plugin to remove dust and dirt? (Marco Poloni)
   4. Re: FCPX Plugin to remove dust and dirt? (Chris Freeman)


 --

 Message: 1
 Date: Wed, 26 Mar 2014 16:06:02 -0400
 From: Francisco Torres fjtorre...@gmail.com
 To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
 Subject: Re: [Frameworks] FCPX Plugin to remove dust and dirt?
 Message-ID:
 CAEN6Ucmi8=
 q4+k-xy4ee26hdxaj-wzrybemye0tcldrrvvt...@mail.gmail.com
 Content-Type: text/plain; charset=iso-8859-1

 After Effects had a trick for that, choosing an area of the frame and
 clean
 it with motion tracking, dont know if FC could do anything like that.


 On Tue, Mar 25, 2014 at 8:28 PM, Chris Freeman 
 christopherbriggsfree...@gmail.com wrote:

  I shot some footage with my DSLR but had some dirt on my lens.  Anyone
  have experience / recommendations with Final Cut X plugins that will
 remove
  it?
 
  Since it was on the lens, it's (possibly) different than removing dirt
  from film scans, since that only appears for a few frames.  This is
  constantly in the shot.
 
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 --

 Message: 2
 Date: Thu, 27 Mar 2014 08:45:09 +
 From: Mary Stark maryst...@hotmail.co.uk
 To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
 Subject: Re: [Frameworks] FCPX Plugin to remove dust and dirt?
 Message-ID: blu0-smtp98a288ac57f92529ce2ab9ea...@phx.gbl
 Content-Type: text/plain; charset=windows-1252

 The clone stamp in After Effects removes marks here's a tutorial
 https://www.video2brain.com/en/lessons/removing-an-object-with-clone-stamp

 Mary Stark


 http://www.marystark.co.uk/
 http://interwovenpractices.co.uk/
 Tel: 07828450979


 On 26 Mar 2014, at 20:06, Francisco Torres fjtorre...@gmail.com wrote:

  After Effects had a trick for that, choosing an area of the frame and
 clean it with motion tracking, dont know if FC could do anything like that.
 
 
  On Tue, Mar 25, 2014 at 8:28 PM, Chris Freeman 
 christopherbriggsfree...@gmail.com wrote:
  I shot some footage with my DSLR but had some dirt on my lens.  Anyone
 have experience / recommendations with Final Cut X plugins that will remove
 it?
 
  Since it was on the lens, it's (possibly) different than removing dirt
 from film scans, since that only appears for a few frames.  This is
 constantly in the shot.
 
  

Re: [Frameworks] HOW TO USE WITHOUT A BOX TO SUBMIT FILMS

[chris bravo]

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
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  --   
  Aaron F. Ross, artist and educator   http://dr-yo.com 
 http://digitalartsguild.com  
 ___   

Re: [Frameworks] Dara Greenwald videos?

[chris bravo]

check here, as well: http://vimeo.com/daragreenwald/videos/page:1/sort:date

if what you are looking for is not there (the list looks complete to me,
but I am not sure) you can get in touch with Josh through the interference
archive: interferencearch...@gmail.com



On Tue, Jan 7, 2014 at 1:46 PM, Cari Machet carimac...@gmail.com wrote:

 Electronic Arts Intermix (EAI)
 535 West 22nd Street, 5th floor
 New York, NY 10011
 www.eai.org

 they will know

 On 1/7/14, Patrick Friel patrick.fr...@att.net wrote:
  I don't think they're at the Video Data Bank (as Oona suggested), but
 they
  should be!
 
  I'd contact her partner, Josh McPhee.  I don't have his info, but I think
  he's findable on the web.  Maybe Dara's website has been updated with
 info
  on renting her work.
 
  One of her pieces showed in a retrospective program at the Chicago
  Underground Film Festival last year.  Check with them (Bryan Wendorf).
 
  pf
 
 
 
  On 1/7/14 11:45 AM, Scott Stark sst...@hi-beam.net wrote:
 
  Does anyone know where to find (the late) Dara Greenwald's videos for
  rental?
 
  thanks
  Scott
 
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  nfo/frameworks
 
 
 
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 Syria +963-099 277 3243
 Amman +962 077 636 9407
 Berlin +49 152 11779219
 Twitter: @carimachet https://twitter.com/carimachet

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Re: [Frameworks] films/videos using/made up of text

[chris bravo]

David Gatten made a series of films literally made out of text. I forget
what they are called.


On Thu, Nov 14, 2013 at 12:42 PM, Shelly Silver silver...@earthlink.netwrote:

 dear collective knowledge base folks:
 i'm compiling a list of works using text/made up of text.  i'm especially
 interested in works by women.

 thank you!

 best,
 shelly
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Re: [Frameworks] 16mm matchback - avid - add keycode?

[chris bravo]

not experienced with doing this, but I wonder if you put the correct
timecode on the master clip with cinema tools (or something), then relinked
the master file in avid to the new clip, it would automatically load the
new timecode info. what makes me think this is not going to work is that
there are 8 rolls in the one file, so the code is going to jump around...

maybe a crappy solution would be to lay multiple timecode generators over
the master clip in avid, and try to get that to distribute through the
subclips? you aren't going to get an edl, but you will be able to scrub
through the edit and read the keycode off the screen


On Fri, Oct 25, 2013 at 1:27 PM, Isaac Brooks isaacbrook...@gmail.comwrote:

 Hi,

 This was awhile ago, but I used a flex file that came with the transfer of
 my material, which had a keycode burn in. I believe this was Media Composer
 5 in about 2010.

 Not to ask the obvious, but do your dailies actually include keycode
 running along with the video? Feel free to message me off list if I can
 help - I confirmed a negative from a Media Composer 5 edit that same
 year. Since then I have not edited that way, as Avid isn't supported here
 where I work.

 IB


 On Thursday, October 24, 2013, Francisco Torres wrote:

 There used to be a version of the Avid Software called Film composer, it
 had the capacity to handle K#s. All other Media composers COULD not do
 that. Since then it seems other versions could handle film cut lists
 through film scribe-
 This may help-


 http://my.safaribooksonline.com/book/video/9780240804705/chapter-7-editing-film-on-avid-nles-with-filmscribe/pg_90_40_html


 On Thu, Oct 24, 2013 at 4:14 PM, ev petrol epetr...@yahoo.com wrote:

 hey folks

 i'm trying to figure out how to matchback some 16mm neg to an avid edit

 I shot 8x100' rolls of 16mm and got video dailies back in one file
 I imported that file into avid  it into 8 subclips (one for each 16mm
 100' roll) ... what i'm trying to figure out now is how to add the key
 numbers to each subclip - any tips?

 i've tried going into the bin  adding them there, but avid won't let me
 type into the appropriate column (i added the column for end key code)

 cheers! moira

 moiratierney.net
 vimeo.com/moiratierney

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Re: [Frameworks] Explosives for space pirates film

[chris bravo]

check in: someone posts up on the list asking where to buy explosives and
people are engaging with him? really?




On Sun, Sep 8, 2013 at 9:12 PM, Steven ste...@gladstonefilms.com wrote:

  So, if you are doing anything more explosive than Flash paper. Find
 someone who knows what they are doing and have done this before.Failing to
 respect your media, any media leads to mistakes, and with anything that
 burns or explodes. . .

 Sure sure I'm being overly cautious but people who load black powder are
 not blowing up models, they are different applications.

 How do you want to blow it up, slowly in sections, one big bang?
 Fire/Flame - not in space, probably would ruin your effect anyway.

 How many models can you blow up?
 Perhaps instead you want to buy some explosions and do it in electronic
 post?

 Remember the over-cranking calculation when working with models, which i
 can't remember right now, but I'm sure Scott Dorsey will. I think it is 1/4
 scale model = 4x over-cranking.

 I once shot some balloons being shredded for an artist, we shot 5,000 fps
 (Redlake HyCam 16mm), because the artest really wanted to see his sculpture
 shredding. We found a pyro guy, who had access to everything we needed, big
 open field, and the knowledge. He chose to use what he called dust, which
 was very very fine shot in shotgun shells (who knew such things existed?)
 He built a rig to fire ten shotgun shells at once, test fired it to aim a
 few times, first time it kicked so much, we added more sand bags to hold it
 down. Then I asked the pyro guy why his head was bleeding, he said that one
 of the pipes he had wlded to the rig to use as the gun barrels had broken
 free of the weld, flown twenty feet through the air backward and took a
 piece of his hairline. A check of the rig showed another weld had broken,
 so we were down to 8 pipes/barrels. The rig didn't fire on the first roll
 of film - one power outlet on the quad box was broken - wasted 400 feet in
 about 5 seconds. But the next shot everything worked, although I doubt the
 rig would ever fire again. This was with a guy who had been doing pyro
 effects for a while, and that was what he was focussing on and studying.
 Just some food for thought.


 On 9/8/13 6:35 PM, ben.weinst...@mindspring.com wrote:

 Hey,
 I'm making a space pirates stop motion film and I was wondering if anyone
 knew where I could acquire black powder to blow up model space ships with.
 I know you can buy it in cans somewhere but I cant find a place in New York
 that sells any explosives.  Do I have to go to the south or something?  Any
 info is much appreciated.  Thanx.

 --
 Steven Gladstone
 New York Based 
 Filmmaker917-886-5858http://www.gladstonefilms.comhttp://roadtodad.blogspot.com/http://indiekicker.reelgrok.com/http://www.blakehousemovie.comhttp://www.hellion.gladstonefilms.com


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Re: [Frameworks] otto muehl r.i.p.

[chris bravo]

shit


On Tue, May 28, 2013 at 4:49 AM, k. k. karlaklan...@hotmail.com wrote:


 dear frameworkers,

 according to media reports, otto muehl (1925-2013) died in his home in
 portugal on sunday, may 26th.




 - karla

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