Launched: The New Self-Reliant Film.

If you're looking at this website in anything other than an RSS reader you can probably tell that we've completely overhauled the website. Thanks to our wonderful designer friends at Nathanna, we've both expanded and simplified the Self-Reliant Film website.

As we mentioned a few weeks ago, our new look is based on some new directions for the website.

Today, with the launch of the new site you can do a few things that you couldn't do before:

 

Sign up for the email list. Our new email newsletter will have exclusive content we don't put on the blog. We’ll share tips on great films we’ve recently discovered, we'll provide some extra filmmaking tips, and you’ll get access to see our films for free. The newsletter is only sent once a month, we never sell or share others’ email addresses, and it’s ad-free. Subscribe!

 

Watch our films: Some folks that visit this site do so because they're fans of our films. Others visit the site because of the blog. If you've not seen our work, or you want to see our films again, or you want to see more of them… we've spelled out all the ways to watch.

The easiest and least expensive way is to sign up for the email list. But there are other ways, too. Find out more here.

Must reads: Look to the sidebar on the left. These are a few of the most popular posts on the site. Check them out if you're new here or if you've not read these. The Declaration of Principles was the first post on the blog, and it's still pretty much as relevant today as it was when it was drafted in November 2005.

 

Resources: If you click on "Resources" (look to the upper left of this page) you'll see some of the more helpful pages we've assembled for filmmakers (and everyone) since beginning the site. Over the coming weeks we'll be updating and expanding these pages.

 

Submission guidelines: We've always received emails from readers wanting us to watch and/or review our films. This has been done pretty much catch-as-catch-can in the past. We finally drew up some ideas about how to do this, as seen in the sidebar on the left. We want to review and put a spotlight on great films more than we've been able to recently. This is a way to encourage this. Click on the Submission Guidelines and and let us know if you've got a film you want us to watch.

 

What hasn't changed?

 

Our blog still features all the same stuff that we've championed and discussed from the beginning -- DIY, regional, and personal filmmaking. We've moved it to selfreliantfilm.com/blog, so update your bookmarks.

(If you bookmarked an old page from the blog it should automatically redirect to the new permalink structure, but if you encounter a broken link, let us know!)  

Finally, one other thing that hasn't changed: This site is still ad-free.

For us, self-reliance has always gone hand in hand with the idea of simplicity. While filmmaking is a vocation that often resists even our attempts to simplify the process of making movies, we feel the least we can do, sometimes at least, is keep our tiny corner of the internet quiet from flashing banners, pop-ups, and google ads buried within our own reflections. This website, like our films, continues to be a labor of love.

We hope you like the new site, and the things to come. If you do, spread the word by sharing with a friend by using facebook, twitter or, you know, by actually telling someone about it face-to-face.

Touring the South(s)

Ashley and I have been on the Southern Circuit Tour of Independent Filmmakers for a week now. As I type these notes, we are driving on I-55, heading from Memphis to a screening tonight in Jackson, Mississippi. The program we are screening on this tour have been appropriately packaged together under the title "Southern Stories." The two fictional films (Gina, An Actress, Age 29 and Quick Feet, Soft Hands) were shot in Knoxville, Tennessee, and the documentary (For Memories' Sake) is a portrait of a woman who's lived in a rural area outside Nashville all of her life. The cast and crew for these films is largely drawn from the areas in which they were shot.

Charleston Guest House

So, while there is a truth, and a convenience, in advertising the films as "Southern Stories", I'm also ambivalent about labeling them this way. I have long believed that the South is not a monolithic place, except in American mythology, but that there are, instead, many Souths.

Visiting the three places we've screened so far -- Johnson City, TN, Charleston, SC, and Memphis -- has driven that home in dramatic fashion. I can't remember touring three cities in such short succession that are more different in their cultural, racial, economic, and geographic diversity.

So, calling our films "Southern Stories" tells a half-truth, in a way. Southern, yes. But which South?

And yet, while only our audience in Johnson City might have recognized the physical landscape represented in our films as their own, audiences in all three cities have responded to the films warmly, even with a sense of ownership. Many individuals at our post-screening conversations on the tour have told us how they felt connected to the regionalism of our work in ways that they normally don't respond with films.

As just one example, film critic Jon Sparks (who moderated our Q+A in Memphis) began the conversation by warmly speaking of the "grit" and "texture" of our films as capturing some essential element of the South. We took this, of course, as an incredible compliment… and yet as he said this I wondered, Is there anything that defines all of the South?

"Southern" is a complicated word, loaded with historical connotations and pervasive stereotypes. As anyone who's spent time here knows, some are more true than others.

If pressed to name some unifying element of the South -- that is, a thing that can tie together places as diverse as Johnson City, Charleston, and Memphis -- I suppose I would say that these places, and the people that inhabit them, have a shared marginality. Regardless of race, class, or creed, everyone here is looked down upon by someone. There's usually always someone above you, if you're a Southerner.

I'll probably change my mind tomorrow about these things. We've still got eight cities to go and many Souths to explore. Tonight, it's Jackson.

SRF on the Southern Circuit Tour of Independent Filmmakers

During the month of March, Ashley and I will be screening our films in eleven cities throughout Southeast as part of the Southern Circuit Tour of Independent Filmmakers. We will be screening Gina, An Actress Age 29; Quick Feet, Soft Hands; and For Memories' Sake. Southern Circuit is a long-running program of SouthArts (formerly the Southern Arts Federation). As described on their website, "Southern Circuit is the nation’s only regional tour of independent filmmakers." The program is supported by the Academy of Motion Picture Arts and Sciences, with other support coming from the National Endowment for the Arts. To say that we're honored to be selected and excited to screen our work this way would be an understatement.

Here are the dates and venues of our tour. If we're coming to your area, come see us. If you have friends in any of these cities, spread the word! We'll be posting Facebook invites to screenings and notes from the road to the new Self-Reliant Film fanpage.

Tuesday, March 1, 2011 - East Tennessee State University - Johnson City, TN

Friday, March 4, 2011 - Halsey Inst. of Contemporary Art - Charleston, SC

Sunday, March 6, 2011 - Buckman Performing Arts Center - Memphis, TN

Tuesday, March 8, 2011 - Millsaps College - Jackson, MS

Wednesday, March 9, 2011 - Clemson University - Clemson, SC

Thursday, March 10, 2011 - Western Carolina University - Cullowhee, NC

Friday, March 11, 2011 - Center for Doc. Studies @ Duke Univ. - Durham, NC

Monday, March 14, 2011 - Capri Theatre - Montgomery, AL

Wednesday, March 16, 2011 - Manship Theatre - Baton Rouge, LA

Friday, March 18, 2011 - Arts Council of Central Louisiana - Alexandria, LA

Wednesday, March 23, 2011 - Lucas Theatre - Savannah, GA

Besides us, this year's Southern Circuit includes tours by Alex Karpovsky, Jenny Abel, and Kimberly Reed, among others. You can read more about all the filmmakers here. For our tour page on the SouthArts website, click here.

Tape is dead! Long live tape!

It struck me today that For Memories' Sake will probably be the last movie I'm involved with that uses videotape. Ashley began shooting the documentary with the venerable DVX-100 in 2006 and, for consistency's sake, we stuck with that camera through production. All the new projects that I have on the horizon will be shot with a tapeless cinema camera, whether it's made by Panasonic, Sony, or Red. So tape is dead to me. Or is it?

One of the issues, of course, about shooting tapeless formats is what you do with the data. While editing with tapeless footage, of course, I keep lots of backups on drives in different locations. But after the project is completed, using hard drives to archive the footage is not a reliable solution. Of course, I'll confess that this is what I've done in the past. But as my hard drives age, and as I amass more footage that I'll want to hang onto, I know I need to find another solution. Most pros will tell you that solution is (wait for it).... tape. Specifically, LTO or "Linear Tape Open."

Luckily, for us Mac users out there, Helmut Kobler recently did us all a service by summarizing how to get started with LTO4 tape archiving on a Mac. Kobler estimates the low-end price tag for a Mac-compatible LTO system as $3300.

That figure may seem like a lot to independent filmmakers. (I wonder how many fewer Panasonic HVX200s or Sony EX-1s would have been sold if this cost was factored into the purchase price?)

In the end, whether to spend this kind of money amounts to questions about risk and value: How much do you value your data? And how much risk are you willing to take that your data might be lost forever?

For me, that $3300 is starting to look like a decent value. Long live tape!

For Memories' Sake, pt. 3: Organizing Content

Once I had completed the most basic research and transferred Angela's movies to video, I had to figure out how to keep track of the content of her collection. Though I only later learned about the importance of metadata and the availability of online archivist classes, I began simply and naively with a system that has served me well. I created a basic Filemaker Pro database with screengrabs from the home movies and just enough data to let me quickly find movies by persons featured, keywords, and/or their location on specific film reels or transfer tapes. I think this screen grab is somewhat self-explanatory:

As you can imagine, the keywords tend to be most useful. The beauty of using Filemaker Pro (as opposed to a library-designed data management software or, even worse, paper-based finding aid system) is that I can create ways to look for and quickly find what I want in a way that make sense to me. It's also one of the most affordable solutions I've found.

Of course, I quickly discovered I would need hard drives and backups of those hard drives for all the data and the video files, and when you're dealing with hundreds of hours of footage, it's quite an investment. I've found this brand to be especially reliable and affordable. As part of the "best practices" I've adopted, I always keep one copy of master tapes and hard drives with data in a separate, secure, climate-controlled location (e.g. not in a basement, attic, or anywhere subject to big temparture fluctuations or humidity). I also set alarms to remind myself to power up and spin the heads on the harddrives at least once every six months. Failing to do so can mean a total loss of data.

**

Even for filmmakers who aren't interesting in shooting small format or working with family archives, home movies have a lot to offer. As opposed to much archival footage that comes with hefty fees (my searches online yielded rates ranging from $25 per second to $350/second and up), home movies often come free for the taking (with attribution) or for a song at garage and rummage sales. More than that, I believe there's something inexplicably beautiful in these smaller than life versions of everyday scenes. Maybe it's because small things distill life to its essence...or maybe it's because the world seems so big and wonderful when things appear so small. Whatever the reason, if you come across orphan or neglected home movies, I hope you'll consider preserving and using these beautiful artifacts or donating them to an archive near you.

In the next making of For Memories' Sake post, I'll share how I scanned and catalogued 30,000+ photographs without taking too many years off my life.

Still from Angela Singers 8mm home movies.

For Memories' Sake, pt. 2: A Smattering of Super-8 Resources

Paul Harrill here. What follows below is Ashley Maynor's second post about For Memories' Sake, her forthcoming documentary. (I am the film's producer.) If you missed Ashley's first post, you can catch up with it here.

As you might guess if you read my first post, I soon found myself overwhelmed with the task of caring for Angela Singer's massive and chaotic collection. While this preservation project has finally come together in the form of a movie (more than three years since it began), I had to first learn to work with and care for her diverse and problematic assemblage of photos, films, and video. As a first generation college student, I majored in the not-so-versatile area of French Literature. I came to filmmaking late in my academic career, so it was without any formal photography training and during my first year of film school that I set out to learn best archival practices, digitization techniques, and the ins and outs of small format filmmaking.

While there's no substitute for learning hands-on through trial, error and frustration as I did, the following is a collection of websites and online resources that most helped me as I stumbled through the first phase of preservation:

Working with Home Movies

General Interest & Footage Sources

Home & Amateur - A blog about home movies and amateur film, whose contributors hail from the Center for Home Movies.

Lost in Light - The documentation of a (now complete) free home movie transfer project, including home movies, categorized by topic, many of them available for Creative Commons remixing.

Prelinger Archives/Archive.Org - A collection of home movies includes amateur films and videotapes from the collections of the Center for Home Movies, the Prelinger archives, other home movie aficionados. Many of the movies are public domain or available for use under Creative Commons guidelines.

Supplies & Small Format Filmmaking Resources

Film Shooting - A great online source for news about all things home movies and small format filmmaking based in Norway. Given that two major print publications (Super8Today and SmallFormat) have shut down their presses in the last year, this online news pool is essential.

On Super 8 - This site bills itself as "impartial and comprehensive resources for today's Super 8 and 8mm small gauge film makers." It's all that and more; based in the UK.

Pro8mm- The only movie house I know of in the US that specifically specializes in Super-8 film stocks and transfers. In 2008, they added a Milliennium II Scanner with daVinci 2K color corrector to their transfer menu, capable of SD or HD scans. It's the premier scanning system for small  gauge film.

Super 8 Site - A German Super8 site. The "links and addresses" page is worth a look.

Urbanski Film - Though the website screams 1990s, I've ordered and been very pleased with film cleaning supplies, projector bulbs, and other hard-to-find small format equipment.

And though it goes without saying, eBay is an immense (if risky) resource for finding old Super 8 cameras and projectors, as well as professional VHS decks for digitizing old videocasettes.  Before purchasing the unknown, I've found the folks on the AMIA Small Gauge/Amateur Film Interest Group listserve to be incredibly helpful and willing to share their expertise.

Preservation & Care Information

Brodsky & Treadway -The transfer house for rare, valuable, and fragile home movies. Their companion site, Little Film, contains detailed, downloadable tips and instructions for caring for home movies.

Home Movie Day - A major project of the Center for Home Movies, Home Movie Day is an international celebration of home movies. The site contains lots of information about film handling and care as well as links to home movie day events across the country and the globe. Home Movie Day also keeps a running list of home movie transfer houses.

National Film Preservation Foundation - A clearinghouse of film care basics and resources for more advanced users. Be sure to download their extensive film preservation guide.

It started with a tattered box...the making for FOR MEMORIES' SAKE

Today begins the first postings by Ashley Maynor on our film For Memories' Sake. (She's the director; I'm the producer.) Take it, Ashley.... It's Christmas 2005 and I've begun the crazy whirlwind of travel that results from being part of a Southern, Catholic family and a child of divorce. My grandmother, Angela Singer, who always gives the most unique (if utterly bizarre) gifts, often salvaged from garage sales or Dollar Store specials, surprises me with a tattered cardboard box. Within the box is a ratty paper bag, and within the bag a treasure trove: 79 3-inch reels of 8mm and Super8 home movies.

I had begged Angela for months to see if she could find her home movie collection, which I knew must have been buried in her house in Cheatham County Tennessee. What once housed nine children and all their things (most memorably for me: potato guns, slingshots, and dirt bike helmets) is now a cluttered mess of papers, mementos, newspaper clippings, and photographs that document time gone by and its slow, continual creep.

Having deciphered Angela's handwritten labels, organized the reels as best I could, and researched home movie transfer houses, I sent the films off in late 2006 for a low-cost telecine transfer. The films came back to me in digital form and I began to cut up and reconfigure these celluloid relics of time immemorial using a Macintosh Powerbook and Final Cut Pro.

After expressing such a fervent interest in the home movies, Angela keep digging and presented me, piecemeal over the next year, with more and more documents: over 130 VHS-C tapes of home video, dozens of photo albums from the 1990s, her latest photographs on CD-rom, baby books, photo collages, and so on. In sum, what began as a modest attempt to preserve a few precious films turned into an unexpected discovery of the immensity of Angela's film and photo stockpile and an involved (if unintended) campaign to protect and preserve as much of her archive as possible.

My next post will discuss how I learned (taught myself, really) to preserve Angela's "archive" and how I began shaping this raw material into something that I could use to create For Memories' Sake.

For Memories' Sake

The last couple of months have been pretty darn busy, so blogging has taken a backseat. I've been working on a few different projects -- some writing, a DVD of two short films, and some tests with a new camera. And I got married -- eloped to Walden Pond, to be precise. It's been good to have some downtime from the blog, but now I'm back.

I'll have some more information about some of these projects of mine later this summer, and I'll be making some changes (hopefully good ones!) to Self-Reliant Film as well. But for now, I want to announce the launch of the For Memories' Sake website.

For Memories' Sake is a new half-hour documentary directed by my wife, Ashley Maynor. I'm the film's producer and, though we're still in the latter stages of post-production on it, I have to say I'm about as proud of this movie as anything I've been involved with.

In the coming days, as we complete the movie and prepare it for distribution, Ashley will be blogging on SRF about some of the things that were involved in making the film. Until then, I encourage you to become a "fan" of the movie on Facebook and check out the aforementioned website.