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steveb40

Basic Member
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About steveb40

  • Birthday 08/03/1973

Profile Information

  • Occupation
    Director
  • Location
    NYC
  • Specialties
    Film, Music, Art, Plays, Philosophy, Trains, Travel,

Contact Methods

  • Website URL
    http://www.steveblanco.com
  1. was just reading about that. i'll have to check it out - thanks!
  2. anyone see any of these: SARABAND, 2046, BROKEN FLOWERS, A HISTORY OF VIOLENCE?
  3. anyone know how to mask the k3 ground glass for a 16x9 aspect ratio? thanks, -steve
  4. thanks for the response. I'm trying to get some flash animations sequences into a 16mm short; I can just drop it in place in Final Cut but I would like it to match. It's like doing titles in video; I don't like it so I opt for simple titles i can shoot instead. Is there a way for me to transfer the video to 16 without spending too much $$$$? How bad will it look if I shoot it off the LCD? THANKS
  5. If I have an animation on my powerbook, can I shoot it successfully with 200 b/w negative? thanks.
  6. I believe the sequel to 'Scenes' is called SARABAND with Liv Ullman and Earland Josephson, and it will be in theaters sometime in June. It'll play here in NYC at Film Forum and a few other spots. Look for it. Bergman on the big screen are some of the most intense experiences for me. Purely beautiful!!!
  7. yes. thanks. i am always worried that everything gets too boring. and being a short i don't feel i have the time to slow down in the way i would if i was making a feature. very challenging. did you find it obscure? i feel it might be too direct. thanks
  8. yes. i've seen it! fantastic two watch those to masters work together. it's nicely packaged from criterion as well; elegant.
  9. thanks for the feedback! here's the technical: camera - krasnogorsk k3 filmstock - ilford hp5 b/w negative processing - cinelab in boston editing - final cut pro
  10. Hello everyone. PLease allow some time for it to download. http://www.insomniacreations.com/bartolozz...amefilthqb.html thanks, -steve
  11. thanks to both of you for responding. finshed meaning output to dv; no money to go back to film and certainly not 35mm. shot on my K3. i am leaning towards the original 1:33; it feels a bit stronger in original format. i'm just having difficulty making the decision. in a way i wish i didn't have an option...too many tricks. i'll post when it's complete; maybe you guys could give some feedback. thanks again!
  12. i know there's probably a thread on this somewhere, but perhaps someone can offer some opinion on this matter. after finishing a short in regular 16mm, i matted the edited picture in 1:78. since i'm able to adjust the horizon line in fcp the compositions are similar to my orignal 1:33 (although i like the extra vertical space in 1:33). i'm having a tough time deciding on what to do for the finished product. i'm a fan of both; i've scene goddard's recent masterpiece which was 1:33 and found the film thoroughly engaging. also the bergmans from the 60's which are almost all 1:33 affect me greatly. i do, however, love the wider aspect as well. two factors - composition and image quality, since i'm chopping the original 16 image area when i matte it, correct? what would some of you do? should i save the wider aspect for when i have the opportunity to shoot s16? thanks, - steve blanco
  13. "I was trying to develop a script around the true story of Beethoven's pianoforte being salvaged from a dump in Israel, but just could never get it going anywhere without it looking too much like The Red Violin. (Nobody knows how it got there, by the way.)" that's an interesting tale. where'd you read that? his "fortepianos" are in several locations. of course taking on that kind of subject would require a considerable amount of study into music; beethoven's work is a force to be reckoned with and only those brave enough to listen to every piece and study all 32 piano sonatas as well as the last quartets should make a film about that mighty giant... good luck!
  14. A very beautiful and moving film, indeed. Pretty sure he used only avialable light and the pictures are fantastic, but the real mastery lies in his ability to make this fictional creation seem so real. The reality of the experience as a viewer had me going back for repeated viewings and although Notre Musique posesses a much more structured narrative than many of Godard's other films, it is a perfect blend of abstract and centered images. Has anyone else enjoyed this film? I'm curious as to which Kodak stock was used. He's also been taking film and stock footage then transfering to video and adding peculiar colors that seem to be in specific parts of the frame. Does anyone know how this is done? Thanks
  15. hey man, i'm not accusing you of anything; i'm simply making an observation based on your words. i'm not agreeing or disagreeing with you. you bring many valid points to the table and the "sting" example is a good one; but he is part of the pop culture machine that is loaded with hypocrisy. these rock stars compare themselves to picasso and bach in the same sentence, but that's another issue. this forum isn't the place to continue this discussion and get into the existential realm related to failure of accepting individual responsibilty and realizing the nothingness of the universe or the meaninglessness of our accidental being. nice talking with you...
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