As Fred noted some time ago, bankruptcy can mean either reorganization or
dissolution. Under the circumstances, the former seems more likely than the
latter.
In any case, so long as there is some demand for motion picture film,
someone will produce it, whether it's Kodak or someone else. Hell, i
Part 2 of 2: This week [October 8 - 16, 2011] in avant garde cinema
FRIDAY, OCTOBER 14, 2011
10/14
Boston, Massachusetts: ArtsEmerson
http://ArtsEmerson.org
6p, Paramount Center: Bright Family Screening Room 559 Washington Street
YANQUI WALKER A
Part 1 of 2: This week [October 8 - 16, 2011] in avant garde cinema
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It doesn't matter if digital looks like film or not.
I would beg to differ that it is kind of the point- not as to why
artists choose to work in film, but for why film may not be a choice
for an artist anymore.
This issue with film's struggle to stay vibrant is that it is the
entire pro
Okay, perhaps this might add a bit more perspective.
I doesn't matter how many stops video or film may have. It doesn't matter
how indistinguishable the two may "look" (I assume as a digital file on a
computer, or monitor not projected on their intended format in a theatre).
What we are looking
Aaron,
the starting point of your logic is all wrong.
It doesn't matter if digital looks like film or not.
It is NOT film.
The debate is not about what digital looks like, or about what film looks like.
It's about what they are.
The nature of the material.
Artists work with those qualities.
Scul
Definitely good points. However, don't forget that any film stock can
now be emulated, given good enough digital source material. As I said
before, the moment that HDR sensors become affordable, then celluloid
will be irrelevant. If you start with 20 stops of latitude in a
32-bit floating point
Aaron- I know this is a few months late, my apologies on the tardiness, but
I'd like to address what this thread was originally about...
my problem with your original post is not that film will eventually stop
being produced (this may or may not happen, and Forbes should certainly not
be our proof
Hello everyone. I am currently a student at de anza college in Cupertino , ca.
I've been inspired to do a screening of experimental work from local san
francisco bay area film/video makers, which can include straight experimental
work, exp narrative, and exp documentary. This screening would do
Hi, I hand processed an old roll of exposed B&W 16mm film this past week. It
was probably 20+ years old, in one of the old silver 100ft cans and had no film
label but was marked exposed and thought I'd give it a try to see if I could
get some sort of fogged image out of it or at least get some b
Check with Richard, or with Mark Toscano, who was restoring some of the
films.
I can send you Richard¹s info off list.
On 10/8/11 11:37 AM, "Melissa Parson" wrote:
> Does anyone know if it's possible to rent /screen Richard Myers 16 mm
>
> "Allison." 1971, 7 mins., B and W, sound.
>
> "Confro
Does anyone know if it's possible to rent /screen Richard Myers 16 mm
"Allison." 1971, 7 mins., B and W, sound.
"Confrontation at Kent State." 1970, 43 mins., B and W, sound.
thanks
melissa___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
hey sore eyes,
insults and negative facts about his art have nothing to do with his arguments
or assertions. try to argue the points and resist your urge to lash out.
critical analysis of art is important but that's not what this thread was
about...
>
>
> On Wed, Oct 5, 2011 at 6:11 PM, Meli
On Wed, Oct 5, 2011 at 6:11 PM, Melissa wrote:
> The FU was pretty weak in my mind. What was worse was slamming someones
> art work because you don't agree with their statements on technology changes
> etc... How are we to create community where people feel safe to have heated
> discussions if
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