Flicker #15

      Welcome to Flicker #15 May 27, 1997

      program 15 Shown at Flicker #15 in approximately this order:

      1. Michael Fimognari "every day"
      20 min. 16mm

      2. Roger Beebe "Dead Man's Hand"
      7 min. 16mm

      3. Phil Brubaker "Right of Spring"
      3 min.Super 8

      4. Johnny Knight "Sizzle"
      30 min. 16mm

      5. Casey Burns "Vacation Footage, Feb. 1997" music by: Cole
      10 min. Super 8

      6. Doug Leckie
      3 min. Super 8

      7. Temple Fennell "Howard Black"
      26 min. 16mm

      8. Alan Colombo "Camera X"
      13 min. Super 8

      Flicker #15

      Welcome to another Super night of films here at the Cat's Cradle in the heart of our old North State. Here are the super friends of Flicker #15: Frank Heath, for letting us turn the Cradle into our own giant screening room - love the chairs. Chuck and Mary from catalogue.com for upkeep of the Flicker Web Page. Tonight, Michael Fimognari's film "every day" comes to us from Sharon, Pennsylvania. He found out about Flicker through the WWW. And thanks to John Noyes for giving me a great deal on the video projector. Lots of folks can't afford to have a print made, and their edited film exists only on video, and we're not leaving them out! Also, tonight several students from my Super 8 class will be showing their latest (earliest) films. I'm quite sure you'll enjoy them.

      Yours for better films,
      Norwood

      Flicker Film Grant

      At Flicker #14, there were two $100 Flicker Film Grants awarded.

      David Teague and Tom Laney in their own special way, each wooed our panel such that their only solution was to give out 2 grants. We're looking forward to these fellows films in the near future. So tonight we'll be giving away the eigth grant to a deserving young filmmaker. If you would like to be considered for the next Flicker Film Grant, send your proposal to:
      Flicker
      810 S. Columbia St.
      Chapel Hill, NC 27514

      Super 8 Processing Warnings

      Lots of people are constantly searching out the best deals for Super 8 processing, myself included. Here are some of the latest results.

      Beware of most every drop box type film processing. These places, like various drug stores, Wall Mart, Best Buy, etc., may offer a great savings in processing, but really don't know what they're getting into. Word on the street is that most of these places either loose your film, or it may take 4 to 8 weeks to get your film back. The frustration is not worth the few dollars saved.

      Super 8 Festivals on the Horizon


      2nd Annual Super Super 8 Film Festival
      Sept. 19-21, 1997
      deadline: August 1
      send VHS copy to:
      3841 Fourth Ave. #207
      San Diego, CA 92103


      1st Annual Athens Film Festival
      Oct 17-24, 1997
      deadline: August 15
      send VHS copy to:
      P.O. Box 1631
      Athens, GA 30603

      Super 8 Fanzine

      2 to 3 times a year, Steve Osborne puts out one of the only magazines dedicated to Super 8 filmmaking, collecting, projecting, and just plain ol' admiring called Coming Attractions. Send $2 for the latest issue to:
      2248 A)costa St.
      Kettering, OH 45420

      Feb. 1996 Notes...
      from Lesley McClintock

      As I become more involved with filmmaking, I notice how it changes my perceptions. Film helps me create a lyrical reality and to capture what is beautiful in the outside world. I've become increasingly entranced by the flicker of shadow and sunlight in my eyes as I drive through the forest on a bright day. As I'm driving in the rain in the darkness, all motion is blended into feelings. the red of the traffic light melts through the water on the windshield. In this moment of suspension, all things are moving.

      IMAX vs. Super 8 The Tough Question
      (from Virgil Mirano)

      Think about it. You're a talented, up-and-coming filmmaker. You need to choose the format that you want to haunt you for the rest of your life. BUT REMEMBER NOW: Your talent is irrespective of your format. You're resourceful and creative. You're broke. This last point, too often ignored by industry professionals, is the all-important one. consider these simple facts:

      1) Super 8 uses only one two-hundredth the amount of celluloid as IMAX does. This means your negative cost per minute is much, much less.

      2) Super 8 equipment is much easier to handle and much, much cheaper to deal with. We're talking a couple hundred rather than several hundred thousand, now.

      3) Super 8 post-production is much less cumbersome and much more rewarding, as it forces you to really get close to your film.

      4) There is NOTHING you can film in the big format that you can't do in Super 8. An optical is still an optical, whether it's five stories high or only on your living room wall.

      5) The image quality of Super 8 is better that that of IMAX. It's true! Think about it. IMAX blows up its image 42,000 times in order to put it on the screen. Super 8 only blows up its frame 960 times, giving an over 400% better quality image. And, since the frame is so much smaller, there is less chance of dust and scratches marring the picture. In fact, an IMAX frame has 192 times as much dirt on it as a Super 8 frame!

      So you've got a huge image with IMAX that you can't show at home, a party, or move around as you please. Is it worth the hassle to build a huge, specially-designed theatre with a thousand seats and an expensive projection system just to show your cousin's wedding? Come on!

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