Film Projector Old Memories Videohive - Free Download After Effects Templates After Effects CS5, CS5.5, CS6| 1920x1080| 50 Mb. A classic movie projector introduces your video to audience in a authentic, classical manner, with an orginal reel film projection, but in which YOU put your video.
. Film to video transfer can be a fun project to undertake, but be prepared to spend some time. Be prepared to do several test recordings once you get it down. You have the ability in this process to actually view the end result as you are recording by connecting the video outputs of your DVD recorder or VCR to a TV.
This will show you how the signal is actually passing through to the recorder(s). However, it is a live image; the recording itself may not quite as good, as your end result on tape or disc may show a slightly lower resolution, especially if you are using a VCR instead of a DVD recorder.
If you use a VCR, make sure you record in the 2 hour SP speed - which will give you the best results in the VHS format. If you use a DVD recorder, make sure you use the One or Two-hour, as this will ensure the best picture quality. If possible, make your transfers to DVD and not VHS or even save them on a PC and then copy those files onto a portable flash or hard drive for backup storage.
Message 2018 HONOREE REELS Each year, our Honoree conversations begin with our Honoree Reels—video compilations of the year’s Filmmaker on the Edge, Excellence in Acting Recipient, or Next Wave Award’s best work throughout their career. Through these reels, we hope to exemplify why we honor these artists, how they continue to be on the edge of creation and innovation, and the exciting things we can expect from them in the future. Now you can enjoy this year’s Honoree Reels over and over on our YouTube channel! FESTIVAL SWAG, NOW 20% OFF!
Rep your favorite film festival year round with our 20th Anniversary festival gear! Buy now for 20% off on all hats, t-shirts, and bags! In 2015, PFS launched the first Women Filmmaker’s Residency Program in the country in response to the alarming lack of gender parity in U.S. Entertainment Media. Since then, awareness surrounding the issue has been bolstered by the #MeToo and Times Up movements. Still, as Frances McDormand put it so eloquently, “we all have stories to tell and projects need financed.” Come get inspired by the great work that our past and present residents are doing and let’s figure out ways to provide continued support. Join some of our visiting Residents and the Women’s Week Filmmakers in conversation, education, and film appreciation.
Cocktails and appetizers will be served. Suggested Donation: $50 Sponsored by Inn at Cook Street AUNT PHYL: A STAGED READING DIRECTED BY SHELLI AINSWORTH AUNT PHYL shares the story of a smart, independent young woman from a mid-century factory town, where the most common ambition among her class -of-’49 high school peers is an engagement ring upon graduation. Through the support of a few like-minded friends, she defies the social, sexual mores of the time, all the while seeking – and finding – her own dazzling and often fraught version of The American Dream. An episodic series visually inspired by early television, AUNT PHYL was conceived during the inaugural Women’s Residency in 2015. The first two episodes will undergo a dramatic reading during this years’ Women’s Week.
Shelli Ainsworth is an award winning writer/director whose narrative feature STAY THEN GO was featured at the 2014 Provincetown Film Festival. LET’S TALK HANNAH GADSBY’S NANETTE: SCREENING AND CONVERSATION “NANETTE should be required viewing if you’re a human being” wrote comedian Tig Notaro to New York Times writer Melena Ryzik and we agree! “Join us for a shared screening and what promises to be a lively and engaging discussion about what Ryzik goes on to describe as “a Netflix special that is the most talked-about, written-about, shared-about comedy act in years, exquisitely timed to the #MeToo era.” Together, let’s explore the reasons why! Moderator: Ann Wood Panelists: Myra Slotnick, AB Cassidy, and Sophia Starmack Ann Wood Ann is a freelance editor and writer, the former award-winning editor of the Provincetown Banner and the author of the novel ‘Bolt Risk.’ She lives in Provincetown year-round.
Myra Slotnick Myra is a proud member of the Dramatist Guild, an award winning playwright and activist. Her plays The Weight of Water, The Shadow Child and The Beachcomber Boys (Book & Lyrics) have enjoyed productions and workshops in Provincetown, NYC and LA. Myra was also a stand-up comic from 1990-’95 and was a regular at Catch a Rising Star, The Laugh Factory and appeared on television in Comedy On The Road with John Bynerah, those were the days. AB Cassidy AB is a stand up comedian, writer, actor, and professional lesbian originally hailing from the South Shore of Massachusetts. Now based in Los Angeles, AB performs all over the country with major comics like Carlos Mencia and Tig Notaro. She recently won both the juror and audience award at the San Gabriel Valley Pride Comedy Festival.
Catch AB alongside Cloris Leachman and Bruce Dern in her latest feature, LEZ BOMB which is currently sweeping up accolades in the festival circuit. Sophia Starmack Sophia was a 2014-15 Poetry Fellow at the Fine Arts Work Center in Provincetown, where she currently serves as Writing Fellowship Coordinator. Her poetry and essays have appeared in Barrow Street, Best New Poets, The Threepenny Review, and other publications. Her poetry chapbook, The Wild Rabbit, was published in 2015. NOW PLAYING A non-profit arthouse cinema, operating year-round, and contributing to Provincetown’s tradition as America’s oldest and most vital art colony. Located on the mezzanine between the 2nd and 3rd floor of Whalers Wharf.
Award-winning comedy by the director of the smash-hit short film GIRL NIGHT STAND, LEZ BOMB is a multigenerational comedy of errors featuring a young woman (Lauren) who comes home for the holidays with some life changing news. Little does Lauren know, the eccentric cast of characters have their own stirring surprises as well. The result is a hilarious turn of events forcing the family to come together in a ceremonious series of coincidences. As it turns out, there is no good time to drop the Lez Bomb.
Filmmakers scheduled to appear. THE LAUNCH with JULIE ROCKETT Julie Rockett Dawn Smith Dawn Smith is a freelance political ad producer, which she affectionately refers to as her, “personal form of resistance.” She took time from her very busy Midterm election schedule to discuss films with us. In addition to making political advertisements she is a writer and filmmaker. She has developed a web series called PAID FOR BY, an episode of which was an official selection for the 2018 Provincetown Film Festival. She’s is also working on a pilot with Boston-based Comic Kelly McFarland about a comic dealing with OCD and anxiety and how she uses humor to help open herself up to new experiences and to not having to control everything. Dawn’s love of movies is entwined were her fascinating ‘origin story’. Dawn was raised in an evangelical cult founded by her Grandfather called The Assembly.
She said, “I feel like my Grandfather did so much damage that helping people to get out the vote and making people laugh is my way of counteracting that.” This past year she spoke about her childhood and her defection in a TED Talk and during The Moth Radio Hour. JR: I don’t think you can say how you became interested in films without discussing your own background. I was raised in a hyper-conservative evangelical cult. So movies and television were not allowed. I grew up without a TV.
We could listen a very limited amount of religious music, but Amy Grant was considered too secular and worldly to listen to. We were supposed to behave a certain way because my father was a church elder and ‘uphold our family’s testimony.’ Which essentially means don’t screw up your reputation. JR: It sounds a little ‘Gilead’ City from Handmaid’s Tale.
DS: Absolutely. Watching Handmaid’s Tale evokes so many memories. It’s such a good show but at the same time it stresses me out. That said, my parents were actually pretty good about sneaking us out to good movies. From a young age they really, albeit secretly, taught me to love film.
I remember leaving the house at what I thought was really late, it was probably 7 pm, and they took us to see E.T. I think I fell asleep during it but what really excited me was the event of it all. But then, we weren’t allowed to discuss it with anyone, which was rough. JR: Was your mother supportive as well? DS: We went to a special school and my mother was the principal. My Mother had a Masters Degree from Cal State Fullerton, which was unheard of in our group.
She was an amazing educator and she would occasionally borrow a film projector from the local library and we’d have Film Fridays. The local library only had three films and we watched them over and over. JR: Do you remember the films? There was a short named Bambi Meets Godzilla.
JR: I love that one! But it’s really dark. I can’t believe little religious kids were watching it. DS: It is totally dark and we loved it so much! We also watched Laurel and Hardy’s Music Box about piano movers, which I also thought was hilarious. And finally there was this weird Appaloosa horse movie which I don’t remember much about. JR: And nobody objected?
DS: Strangely enough, no but those movies were such an escape. That’s when I fell in love with film. Later, I was allowed to go to a public high school and I had a British literature teacher who was a great mentor to me. He loved my writing and fostered it. But writing short stories and writing about non-religious subjects was verboten and I had to keep that under wraps. He showed us a few scenes from Monty Python’s Holy Grail. I had never seen that film or heard of Monty Python but I laughed so hard that I was convulsing with tears.
Everyone stopped watching the film and started watching me. It was so fun and so irreverent that I thought I was going straight to hell for watching it. JR: When did you start seeing films regularly? DS: During the summers my parents would take us on mission trips. They would let us watch TV and movies. They actually loved TV and they would rent films for us all summer. They actually had good taste in films.
Like I saw, The Birds, and we saw some classic Westerns. And even though, they were super conservative, I distinctly remember them watching MASH every night after they thought we were asleep. JR: So you finally left The Assembly for good after college. DS: Yes, it was then that I started to really binge films. The tough thing about being in a cult is that when you are out on your own, you have to figure out what the world is actually like for yourself. You can no longer rely on parents or others for advice.
So I started reading Nora Ephron’s books and saw ‘When Harry Met Sally.’ I loved her voice. She was a strong woman who had gone through a lot and had retained a sense of humor about her. JR: What filmmakers influence you now? DS: Yes, they’re a bunch of women filmmakers that I love right now. I saw Desiree Akhavan’s The Miseducation of Cameron Post at the Ptown Film Fest. Vera Fermiga’s Higher Ground I wish Lake Bell would write and direct more because I loved In A World. I loved A Fine Line and I was so happy to be featured with them during PIFF.
Cinematographers Reed Morano and Rachel MorrisonLoved Morano’s work directing The Handmaid’s Tale, can’t wait to see I Think We’re Alone Now, she’s an amazing cinematographer. If I ever meet Rachel Morrison I will explode.
Loved her work on Mudbound. Dee Rees is a writer/director that keeps me inspired, and excited to see what she does next.
Last but not least, Gillian Robespierre. She wrote/directed Obvious Child and Landline, and has also directed television. I thought she did a marvelous job directing an episode of Crashing on HBO, and I’m keeping my eye on her. I get so excited seeing so many talented, hard working, funny women getting work. To find out more about Dawn and her upcoming projects or see her.
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