From: Bart Weiss (email suppressed)
Date: Thu Jul 23 2009 - 12:36:51 PDT
Gregg
we (at videofest) are already on top of that, Last year we projected
only from itunes, not tape on the festival. We asked people to send us
files, over the net, on a flash drive , on a hard drive as qt on a
dvd, whatever they wanted. For a few people that could not figure this
out we did the conversion for them but we really prefer to show it,
like it came out of the editing system. ITUNES is perfect for a
playback system, it can adjust on the fly from 16x9 to 3x4 , it can
take whatever you give it, and you can adjust each clip in the setting
separately. No more building show reels, and the archive for the fest
fits on a ITB drive which we have 2 backup of.
On Jul 23, 2009, at 2:10 PM, gregg biermann wrote:
> Brook, Scott, Bart - et al,
> I like the idea of an entirely non-material based process and
> getting rid of all of this paper and plastic material that is
> involved with sending physical objects around via courier. Uploading
> full resolution, uncompressed, progressive frame, video files to a
> server would be the best way to avoid getting into problems with the
> quality of streaming playback. Organizations could access the files
> once uploaded by artists via FTP from their own server. Of course it
> would have to be technology that could playback high bandwidth
> files. Ideally it could also be the screening technology used by
> media arts organizations and I'd like to see a media player software
> developed expressly for this purpose -- perhaps one that could run
> on its own very minimal OS. It might also be a great way of
> preserving/cataloging digital cinema works. How many media arts
> organizations would be willing or able to make that kind of
> investment? How many artists would worry about the loss of control
> of their works as they could go viral very easily and are as close
> to an "original" as we can get in the digital world?
> G
>
> scott nyerges wrote:
>>
>> A very good question, Brook. As a filmmaker who works with analog
>> and digital media, I'm conflicted about this.
>>
>> On the one hand, I put all of my work online for the very reason of
>> making it easy for curators, programmers and viewers to access.
>> That's what makes the web great. On the other hand, the nature of
>> my work -- a lot of very detailed handpainted filmstrips, sometime
>> overlaid with live video -- means it inherently will suffer
>> compression issues no matter what codec I use (h.264 seems to work
>> best, but even so). And a 320 x 240 image just cannot convey the
>> power that my imagery has on the big screen (or, for that matter,
>> on a decently sized TV or monitor). Ideally, I'll steer people to
>> my website for a first impression and typically follow up with a
>> DVD for pre-screening purposes.
>>
>> And, if you're curious, you can see for yourself: www.nyerges.com
>> (ongoing projects) and www.nyerges.com/video (works previously
>> screened at Rotterdam, Tribeca, etc.)
>>
>> Best,
>>
>> Scott Nyerges
>>
>>
>>
>>
>>
>> --- On Wed, 7/22/09, Brook Hinton <email suppressed> wrote:
>>
>> From: Brook Hinton <email suppressed>
>> Subject: The whole online submission thing, sort of, again
>> To: email suppressed
>> Date: Wednesday, July 22, 2009, 10:48 PM
>>
>> Howdy Frameworkers.
>>
>> I'm thinking about this whole question of online viewing vs. dvds for
>> submissions, not so much for festivals who will obviously determine
>> what works for their process, but curators, venues, etc.
>>
>> Here's my particular bias, and I wonder where others stand on this
>> now:
>>
>> First, I hate dvds. Hate them. Sometimes, though not usually, more
>> than VHS. Even for previewing work that is video to begin with. So
>> much that I prefer seeing other people's work in some other way
>> whenever possible, and that I am loathe to send them out myself. But
>> until recently I was reconciled to this plastic disposable glitchy
>> unreliable motion destroying landfill fodder as a necessary evil.
>>
>> In the last few months, I have come to feel that - with the exception
>> of work that is dependent on an interlaced display for whatever
>> reason
>> - a well encoded h.264 standard def file at a DSL data rate is so
>> close to (and at higher rates better than) "dvd quality" that it
>> seems
>> just silly to automatically send out screeners on DVDs, the majority
>> of which will be thrown away. h.264 is now viewable on 90% of
>> computers since it is supported by both flash and quicktime. And
>> frankly, unless I'm watching a piece of interlace-dependent video art
>> or have access to a very high quality large calibrated broadcast
>> monitor, I find most laptop screens - while technically lacking -
>> more
>> conducive to a cinematic viewing experience.
>>
>> I have a couple of curatorial projects coming up and I know I'm going
>> to strongly encourage that people who can set up previews of their
>> work for me to see online rather than sending screeners. My "cinema
>> brain" is now activated pretty strongly when clicking on a file on a
>> computer - far more than it ever was inserting a tape or a dvd
>> (though
>> still not nearly as much as it is in a dark room full of strangers
>> with good projection).
>>
>> How are others feeling about this nowadays? And again, I'm talking
>> about non-festival submissions - I understand the difficulty in
>> insisting on online submissions in any open call situation or where
>> there is no access to broadband.
>>
>>
>> _______________________________________________________
>> Brook Hinton
>> film/video/audio art
>> www.brookhinton.com
>> studio vlog/blog: www.brookhinton.com/temporalab
>>
>>
>> __________________________________________________________________
>> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>>
>> __________________________________________________________________
>> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>>
>>
>>
>>
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>>
>
> __________________________________________________________________
> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>
>
Bart Weiss
Better Living Through Video
http://web.mac.com/bartweiss/iWeb/Site/Welcome.html
president/video association of dallas
director/dallas video festival
Associate Professor/University of Texas at Arlington
producer/frame of mind (KERA TV)
artistic director/ 3 stars cinema
home address
1405 Woodlawn Ave.Dallas Texas 75208.
voice 214 948 7300
email email suppressed
www.videofest.org for video fest info
aim: videofest
__________________________________________________________________
For info on FrameWorks, contact Pip Chodorov at <email suppressed>.