Monday, April 19, 2021

INTANGIBLE to Screen at the 2021 AIFF

 INTANGIBLE is scheduled to screen at the Arizona International Film Festival on Monday April 19, 2021 at an outdoor showing in Tucson.  Details at:

Saturday, January 30, 2021

Still-Frame Images from 8mm Film

I have been scanning 8mm film to digital format and captured this image that I believe was filmed in Western Europe in the late 1950's or early 1960's. 

The exciting thing is realizing these 8mm home movies captured a glimpse and insight into life and 'what was' at that moment in time.  

This frame, saved from the film, caught my attention and thus became the basis and thinking for this post.

Click on any frame to enlarge the image... 

A single frame.  A woman strands in the rain from the same reel as above.  A moment; an image captured that once passed unperceptive 1/16th of a second to the human mind. Thought lost to time, this still frame image slowly decays and fragments.  The same principal with memory.

Film is an artistic medium, presenting images based on the photosensitive nature of the film stock, light, optical properties of the lens, mechanical operation of the imaging apparatus (camera), and development of the film.

A ghostly image.

Monday, July 06, 2020

AI Generated Text-to-Human Speech Narration Experiment

This brief video was created as an experiment to test a piece of AI software that generates a realistic human voice from a text file.  I wanted to see how credible the voice would carry documentary-type footage. I used some photos and industrial video from the Textron Lycoming archives.

Thursday, April 16, 2020

INTANGIBLE selected for the 2020 Arizona International Film Festival

Announcement: INTANGIBLE has been accepted into the 2020 ARIZONA INTERNATIONAL FILM FESTIVAL (AIFF) in Tucson, Arizona.  Normally held mid-April each year, but due to the COVID19 virus the event has been moved to October.  Psychotropic Films TM  is looking forward to presenting this work to both a local and international audience.  INTANGIBLE is a 9-min short work about memory and decay utilizing found footage from decades old 8mm film. 
Information at the AIFF website here: FILMFESTIVALARIZONA.COM
or at the Psychotropic Films website.

Thursday, November 21, 2019

Pentax KS-1 for Experimental Photography and Film

With regards to digital cameras, there are hidden gems discarded from the recent past as we chase the next camera technological innovations or photography and video.  I came across the Pentax KS-1 produced for only 6-months in 2014.  It features a large high resolution 20 megapixel image sensor that offers excellent clarity and detail thanks to a Shake Reduction system and no anti-moire filter to interfere with sharpness.  But what really grabbed my attention was an effects filter setting called "Bold Monochrome" for high contrast B&W photography and video.  I created a blog to display images produced by this camera in Bold Monochrome.  For use in video, the look is almost like 16mm B&W reversal film.  Link to blog below.

Monday, November 18, 2019

INTANGIBLE (Ver 2) - Updated & Remastered 2019 Release in HD

Back in 2007 I released what now can be considered a prototype film - INTANGIBLE.  But I always wanted to re-release the film with new elements and with the films scanned in HD.  This final mastered version has been completed and will have its premier at 'The Screening Room' in Tucson, Saturday November 23rd as part of The Screening Rooms 30th anniversary.

Intangible will also screen at the Arivaca Film Exhibition on March 7th, 2020

Psychotropic Films presents a Bart Santello presents digital motion picture - "Intangible", a unique an original assembly of decades-old 8mm film.  Fragmented images of fading memory, embodied in decaying film, chosen for their visual texture & artistic quality, are presented in a dream-like sequence, that awaken a perception of a past - long forgotten by time.

Intangible: "..That which cannot be easily defined, formulated or grasped; vague.."

Sunday, September 22, 2019

How Recent 'AI' Breakthroughs Are Transforming Moving Image Restoration

Psychotropic Films has been using VIVA restoration software by Algosoft-Tech to assist in the restoration of The Trail to Yesterday (1918) a silent era nitrate film that has been transferred to digital for the restoration process.  

This lecture by Algosoft-Tech was recorded at "The Reel Thing" technical conference in Hollywood this past August and there is a small scene from The Trail to Yesterday in the lecture that shows how the software working in cleaning artifacts, scratches, dirt, fading and stabilization issues with scanned film and video.  

See 35:45min for the section showing the application of the software to our current restoration project.

How Recent 'AI' Breakthroughs Are Transforming Moving Image Restoration from Psychotropic Films on Vimeo.

Sunday, August 18, 2019

Teaser for The Trail To Yesterday completed

The restoration of this silent era film; "The Trail To Yesterday" (1918) is currently in development by digital filmmaker Bart Santello and Psychotropic Films LLC. 

This 'teaser' was made to serve the purpose of demonstrating the success to date of the restoration process; convey a sense of mystery behind this western's melodrama; and provide credits and production information to collaborators, historians and film preservationists that are currently, or may in the future provide assistance in this digital restoration. 

The only known surviving nitrate print of this film was discovered at the eyeFILM Museum in The Neatherlands. This was the Dutch distributed version that survived and was retitled at the time as "The Revenge of Dacota"

The motivation for this restoration and preservation project is the fact that this movie was filmed in Arivaca, Arizona, the town where the filmmaker leading this restoration resides.  There will also be an accompanying documentary film produced that will cover all aspects of this film's discovery, restoration, history of The Trail to Yesterday's filming in area, the history of Arivaca, Arizona at the time of the filming in 1918.

Restorer and Filmmaker:  Bart Santello (
Production Company:       Psychotropic Films LLC (
Donations to the project:

Based on a novel by Charles Alden Seltzer (1913)
Production Company:  Metro Pictures Corporation
Director:  Edwin Carewe
Scenerio: June Mathis
Camera: Robert S. Kurrle

Dakota: Bert Lytell
Sheila:  Anna Q. Nilsson
Duncan: Harry S. Northrup
Ben Doubler: John A. Smiley
Langford:  Ernest Maupin

Sunday, April 28, 2019

THE DOME directed by Adam Ray (Tacxman Films) and produced by Bart Santello (Psychotropic Films) screened this past weekend at the Arcosanti International Film Carnivale.

Two versions of THE DOME were created. Director Adam Ray's original vision can be viewed in this version: (14-min).

The 'collaborative' version with an edit by experimental filmmaker Bart Santello can be seen by following this link: (19-min).

For more information on the Arcosanti International Film Carnivale, follow this link:

Thursday, April 18, 2019

THE DOME to screen at Arcosanti Film Carnivale


Psychotropic Films in association with Taxman Films with present THE DOME at the 2019 Arcosanti International Film Carnivale on Saturday 27 April.  

Directed by Adam Ray of Tucson and produced by Bart Santello of Arivaca, this short is an innovative doc-u-film that depicts one man's dream of building a 'domed' structure out of cob (clay and straw) in the desert of southern Arizona.  

"The Dome" won Best of Arizona at the 2017 Arizona International Film Festival and also previously screened at the 2017 Arivaca Film Exhibition in Arivaca, Arizona.

To see the blog that follows the construction of this cob studio.  See

Details on the Arcosanti International Film Carnivale can be found via this link here:

Friday, August 17, 2018

Memory of Road Trip - 1952

I found a reel containing 275-feet of developed 8-mm film at a thrift store in Phoenix.  Pencil markings on the film canister said: Phoenix 1952.   Curious to know what I would find on the reel, I sent it off to a lab to get it digitally scanned.  

What was eventually revealed was an (unknown) family's road trip to Phoenix, Arizona in 1952.  The beginning of the film provides a clue that it was winter; based on 'slush' I observed along the side of the road somewhere in Louisiana. Thus this trip was a winter family vacation to the sunshine state of Arizona.  

The film runs 27-minutes; starting with images from Louisiana, then shots from
Texas via the Alamo, continuing west with a good portion of the images taken at the Coolidge Dam (Arizona).  The family finally ends up in Phoenix.  

A woman relaxes, as Camelback Mountain looms in the background
(1952 - Phoenix, Arizona)

So what to do with film of unknown origin(?)  I will eventually post this film online as a public resource for historical reflection and artistic re-purposing, by those finding interest. 

I will examine the film closely to see what part of the film can be used as an 'element' in any of my current or future film projects.

Wednesday, July 04, 2018

Coincidence or Prophecy?

Contained in an interview with filmmaker Godfrey Reggio for a 'special feature' on the DVD release of - KOYAANISQATSI, he talked about a series of public service announcements (PSA's) he made in the early 1970's (1973-1974), along with collaborator Ray Hemenez as part of an organization they formed in New Mexico called the Institute for Regional Education (I.R.E.).  The Institute has been dedicated to promoting and providing information and resources to the general public on forces and trends developing in society beyond our perception and control.

About 10-years ago I contacted the office of the IRE to inquire about getting access to those early PSA's for potential inclusion in film series I wanted to develop called 'Dark Ages'.  My Dark Ages concept is based on the premise that the (historical) Dark Ages never ended due to human evolutionary biology. In essence, we are still trapped in primitive instincts that drive our violent, selfish behavior.

In the mid-2000's, Ray Hemenez at the IRE, sent me a digital file containing roughly 7-short PSA's along with written and published promotional material from that information campaign in 1973-1974, for use in developing my Dark Ages film project.

The image above is from one of those PSA commercials that suggests government surveillance and computers could work to diminish individual liberties and lead to incarceration of suspected citizens.   These warnings from over 40-years ago have come to fruition, in a disturbing irony of immigrant children being placed in detention by an ideologically-driven government, populated with known racists and White Supremacist political operatives.  

These PSA's in my possession have been incubating - waiting for ideas - now it seems the message from the past provides a framework-for-speculation for the series I'm now developing.  I want to connect the warning from the past with reality of today. 

This project will be filmed in Arivaca, Arizona at the International border which is the epicenter of immigration, human rights, militarization and community mobilization


Friday, June 01, 2018

An Early Optical Machine

I have on order an 1890's-era camera lens as a project to adapt it to my Samsung NX1 digital camera for experimentation in photography and digital film.  

I'm drawn to the subtle optical property differences of vintage lenses.   I have been collecting 35-mm camera lenses from the mid 1950's through early 1990's and posting the photography taken with these various lenses on my blog here: 

This is my first 'antique' lens acquisition. I was looking for a lens over 100-years old being motivated as the result of a restoration I'm performing on a 1918 Silent Era film.  Researching the early film history of that time has me focused on the cameras and projectors developed during the early years of film.

I decided on this particular lens after reviewing online auctions for lenses that to me had quality looking optics for its time and was enclosed in a housing 'mountable' to my bellows assembly.  Also, I was looking for something to get my feet wet, adapting and mounting to my camera.  My budget was less than a $100 for the lens and adapting hardware components.

I purchased this lens without learning any historical background of optics and lens-types at the turn of the 20th Century. Once the lens arrives, I will examine marking and do research on the company and the lens' application.  


This Bausch & Lomb 'Victor' lens was manufactured at the Rochester Optical Co. somewhere between the late 1890's and early 1900's.  The lens is a f8  with a two-blade return, rectilinear movement shutter-type. Spring powered, pneumatic exposure control.  Speeds 1/100 - 1, B, T. Mounted between the lens. Finger and pneumatic release.

The lens was removed from a Pony Premo 4x5 plate camera of that era.  More research is needed.

What attracts me to optical device is its attractive mechanical design; which will appears serviceable and well-built.  I don't know at this time its operational condition.  Also, I will have to figure-out how to keep the shutter open since the digital camera I will be using will have its own shutter activation.

I won't know the condition of the lens fully, until I receive the device and examine further.  Whatever the condition is ok with me, because I will see any degradation as a 'texture' in the imagery produced by my Samsung NX1 digital camera.

I will post updates on this lens leading to revealing images that result.  Should be interesting.

Wednesday, May 30, 2018

Second-pass Restoration of "Revenge of Dacota" Underway

Restoration continues on the 1918 release of "The Trail to Yesterday".  Due to missing footage, the restoration will 're-incarnate' into the Dutch distributed release title: Revenge of Dacota.

The 'second-pass' restoration on the digital transfer format of the scanned film (.DPX), is focused on removing remaining artifacts left from the first pass of the restoration.  In addition to artifact removal, frame stabilization, sizing each scene to 35mm film picture size (1:33); and setting the historical standard frame rate of 16-fps set in 1916 by the Society of Motion Picture Television Engineers® (SMPTE); is being accomplished.

Camera: Panasonic Lumix DMC-FZ35* / Film Grain Setting

DaVinci Resolve Studio tools for the restoration arrived on the scene at just the right time to accomplish this opportunity.

This second-pass restoration effort is frame-by-frame this time, as opposed to using algorithms (first-pass) to scan the files utilizing VivaPRO software.

* Panasonic Lumix DMC-FZ35 is 2009 camera/sensor technology


Wednesday, April 04, 2018

Phase II of "Dacota" Restoration Underway

Last year I began the restoration of only (known) surviving copy of the 1918 Silent Era movie: "The Trail To Yesterday" by Metro Pictures, was filmed in Arivaca, Arizona, a town where I own property and has a rich history being just a few miles of the International border with Mexico.
The film was found at an archive in Holland: The eyeFilm Institute in Amsterdam.  Only three of the five film rolls have survived 100-years.  The Dutch distributed release was under the title - "Revenge of Dacota".  I will use the Dutch title for my restoration project, since an incomplete film restored under the original US distributed title, would probably not be accurate representation of Metro's 1918 release.
I have two objectives for this project: 
1) (PRESERVATION) Restore the remaining film from a 2K digital scan in DPX file format and return to the eyeFIILM museum for archiving purposes.
2) (RE-INCARNATION) Reassemble the remaining footage in an attempt to recreate the original story from both the film's perspective and based on the book: The Trail to Yesterday (1913) by Charles Alden Seltzer

 The first pass of the restoration was performed using VIVA RESTORATION software by AgloSoft  The results were dramatic.
The current second-pass of the restoration (see screenshot above) is being performed in DaVinci Resolve editing and grading software, which can handle the professional digital DPX file format for performing image stabilization, any remaining artifact removal, and general editing in preparation for the preservation copy to be returned to the archive.
This restoration work requires meticulous attention to detail.  A website is being developed to document this effort.  To be announced.

Monday, November 13, 2017

"The Trail To Yesterday" 1918 (the reincarnation begins)

This above non-restored screen-shot from the 1918 Silent Era film "The Trail To Yesterday. 
Psychotropic Films is undertaking the production under the direction of Bart Santello.

This is the scene where Sheila Langfort (Anna G. Nillson) take refuge from the night and storm at the cabin of a stranger Dakota (Bert Lytell).  

"..The apprehensive and scoping gaze Anna G. Nillson is a gem for its moment in this scene.."  - Bart Santello

Tuesday, May 16, 2017

THE DOME wins 'Best of Arizona' at AIFF

Psychotropic Films is pleased to announce that "The Dome" short film has won "Best of Arizona" at the 2017 Arizona International Film Festival in Tucson, Arizona.  The Dome a film by Adam Ray of Taxman Entertainment in collaboration with Psychotropic FilmsTM was screened on 23 April 2017 as part of a documentary shorts program of the AIFF.  

Photo: Bart Santello (front left) along with other award winners
at the 2017 Arizona International Film Festival

Additional links to further information:

The Dome's information page on the festival's site can be accessed here:

Interview link with Bart Santello for the AIFF in regards to The Dome

Video link to the AIFF documentary panel discussion with  Bart Santello and Adam Ray

An early "teaser" posted by Director Adam Ray on YouTube

Thursday, April 20, 2017

The DOME to Screen at AIFF, Tucson on April 23rd

The 26th annual 2017 Arizona International Film Festival in Tucson opened last night and will run through the end of the month.  Here's a quick plug for the fest from KVOA News:

The news spot contains a few clips from THE DOME a collaboration between Taxman Films and Psychotropic Films, with will screen on April 23rd at 1:00pm, preceded by a panel discussion on the film at 11:00am

Films are shown at Screening Room, Congress Street.  See website:

Thursday, March 16, 2017

TaxMan Films Title Card

Psychotropic Films announces a 'title card' release for Taxman Films, to coincide with the release of their experimental doc-u-film short:  "The Dome", directed by Adam Ray.  Director of the title card Bart Santello designed the look to compliment the mysterious and dark nature of previous Taxman Films and to prepare a viewing audience for the style of "The Dome" film.  This work also supports final post-production for The Dome's preparation for screening as accepted into the 2017 Arizona International Film Festival ( in Tucson, Arizona for the dates 19-30 April, 2017. 

TaxMan Films Title Card from Psychotropic Films on Vimeo.

Monday, February 13, 2017

MZUNGU to Screen at the Arivaca Film Exhibition

Psychotropic Films is proud to announce the screening of MZUNGU - A Stranger's Dream in Africa at the Arivaca Independent Filmmakers Exhibition on Saturday March 4th at 12:45pm, as part of the program's afternoon documentary program.

Post-production for MZUNGU took 10-years to complete due to both the artistic and technical challenges inherent in the complexity of the production.

Bart Santello, MZUNGU's director says that the technical challenges stemmed from the fact that filming used a 2005-vintage Sony TRV-38 digital camera, recording onto Mini-DV tape (SD). The film also used a couple of consumer-based digital cameras at the time that only recorded in 480P!

So scaling-up the footage to look presentable on today's modern HDTV's (2K) was a considerable effort.  Where the imaging was inadequate, the images were processed to create and artistic effect.

Psychotropic Films employs a 'sub-conscious' filmmaking process in which a film is created based inspired images based on an idea (concept).  The film was assembled like a giant jigsaw puzzle of visual 'elements', over the years slowly revealing the experience of two months in Rwanda and Uganda -  a memory of that experience.  The result is a 'dream-like' imagery and sound experience, which provides the viewer an experience as if they have woken-up inside a dream.

New Video Editing Computer

Psychotropic Films has added a new high-performance Video Editing Computer to handle 4K footage from its Samsung NX1 Digital Camera.  Primary editing software is Magix Vegas Pro 14 & Video ProX.

Built Specifications:

CASE: Corsair Carbide 300R w/USB 3.0
CPU: Intel(R) Core™ Processor i7-6800K 6-Core 3.40GHz 15MB Intel Smart Cache LGA2011-V3
MOTHERBOARD: MSI X99A XPower Gaming Titanium, Wi-Fi 802.11 AC, USB 3.1 Type-C, Intel GbE LAN, 5x Gen3 PCIe x16, 1 PCIe x1, 2x M.2 PCIe9
PRIMARY DRIVE: M2SSD: 256GB Intel(R) SSD 600p Series PCIe NVMe M.2 SSD - 1800MB/s Read & 560MB/s Write
SSD: 480GB SanDisk Z410 SATA-III 6.0Gb/s SSD - 535MB/s Read and 445MB/s Write
VIDEO CARD: ASUS GeForce(R) GTX 1070 Dual-Fan OC Edition 8GB GDDR5 (Pascal)
MEMORY: 16GB (4GBx4) DDR4/3000MHz Quad Channel Memory (Corsair Vengeance)
NETWORK: Onboard Gigabit LAN Network & built-Wifi Dual band
SOUND: High Definition On-Board 7.1 Audio
OPTICAL: LG BluRay 16x Reader/Writer w/M-DISC support
POWERSUPPLY: 800 Watts - Certified Power Supply 
FAN: Cooler Master Hyper 212 LED CPU Cooler w/ PWM fan Plus 3X 120mm Case Fans
USB HUB: Internal USB 3.0 4-Port Hub
FLASHMEDIA: INTERNAL 12in1 Flash Media Reader/Writer
OS: Windows 10 Home (64-bit Edition)

Thursday, September 29, 2016

Boosting Field Recorded Audio

I was out at 4 am a few weeks back recording coyotes in the outback here in Arizona.  The recording on my Edirol R09 at 24-bit/48-kHz was good, but the recording level was very low at -39dB.  I couldn't get the volume level anywhere near my target of -12dB in my DAW, so in order to boost the signal boosted I went with a hardware solution.

So I ran a line-out from the Edirol R09 to a Rolls Promatch MB15b, which converts consumer stereo level signals to professional line level signals and provide audio amplification.  Then to further amplify the signal, the output from Rolls Promatch was directed to a Behringer U-PHORIA UM2 2x2 USB Audio Interface.  The UM2 has a preamplifier and dedicated output level control.

The output of the UM2 was send via USB to my computer and imported using Magix's Audio & Music Laboratory.  I was able to achieve the volume increase, but I was somewhat disappointed in the signal-to-noise ratio.  However, the next step will be to filter out the noise and then work to create sound-design with the coyote yelps.

Saturday, September 24, 2016

MZUNGU's Last Edit?

It has been ten years since I was in Africa traveling and filming MZUNGU.  It has been ten years that I have been working on the 'digital film' MZUNGU.  And that's exactly how long it needed to take. Below is a list of possibly the last editing notes from reviewing current version of the film.  I feel I'm finally 'there' both from the artistic side and working with the technical challenges.  


For MZUNGU, my goal on the technical side was to develop 480P digital video and mini-DV tape (mid-2005 consumer imaging technology) in order to express its full potential from that era - while at the same time scaling-up the image to current HDTV technology.  Coincidentally, this type of vintage footage was ideally suited for artistic expression to convey a perception what I experienced in Africa. These textured images invoke dreamlike environments that mirror stages of sleep and consciousness.


Tuesday, September 20, 2016


Adam Ray out of Tucson is crafting an artistic film "THE DOME" about the structure which features a dome that I am constructing with cob in Arivaca, Arizona.  This earthen structure will be my post-production studio and environment for film-making and other media projects.

Due out in early February 2017, this work will be produced by Taxman Entertainment with additional production and distribution by Psychotropic Films LLC.

Thursday, April 21, 2016

ROAD STORM Screening in Tucson

Bart Santello's digital film - ROAD STORM screened on April 15, 2016 at the Arizonal International Film Festival (April 14 - May 1, 2016) - Screening Room, Congress Street, Tucson, Arizona


My digital film ROAD STORM was the first film to be screened in the new 'micro-short' category at the AIFF.  The total run time was 2min-30sec.

Filmakers addressing the audience during the Q&A after the shorts  screened.  From left Ania Augustowska & Joshua Montgomery (Our Desert Farms); 5th from left Daniel Hyde (Manna); Joshua Provost (Love in Five Parts); Bart Santello (Road Storm); Nicholas Duarte (Sultan of the Sea).  

A good 'local' crowd was on-hand that night for the Arizona Shorts Program

Arizona International Film Festival director Giulio Scalinger (center), standing in front of the Screening Room, Tucson, scans the post-event crowd. In the foreground from left, Carol Cardenas, Mia Schnaible and in the light purple shirt Phoenix-based filmaker Joshua Provost converse on the sidewalk.

Saturday, December 26, 2015

Road Storm submitted to the Arizona International Film Festival (April, 2016)


The Arizona International Film Festival is having a "Short-Shorts" program for films less than 5-minutes, so last month I was finishing-up the sound design for my short digital film "Road Storm"; and decided to see if it was something the AIFF thought interesting and artistically creative enough to add into the program for April 2016. So I submitted it tonight. I wanted to express in "Road Storm" the varieties of experience one has traveling frequently along the 23+ mile Arivaca Road to Arivaca Arizona. In the case of this film, a severe monsoon electrical storm occurred in Arivaca in August of 2014. I happened to be driving along late at night up the Arivaca Road, right into the middle of it. So knowing its that season I had a GroPro camera I pulled over to install on the dash. I had to work fast to make the recording of the storm happen. Editing reduced 30-mintues of video into 2-minutes. What added the artistic element to the piece was several years of micro-burst storm field recordings I conducted in Arivaca. Fantastic storms they were to record and just be part of: But what to do with the material? That's how Road Storm evolved - The coming together of the imagery and my archive of recordings. Like pieces of the puzzle. But the real bonus was working with some real advanced digital-audio tools; from Magix, Izotope and Sony to bring the sonic into full-spectrum. Look for ROAD STORM in 2016! - Bart Santello

Related: Arivaca Film Exhibition

Thursday, November 12, 2015

Photographs from WASTELANDER

Director Angelo Lopes is behind the forthcoming independent post-apocalyptic film WASTERLANDER

 Director Angelo Lopes behind the mic

Trina Boutin & Jim Rundell (Costumes and Effects)

Carol Cardenas is the lead female role in WASTELANDER

Jon Proudstar - Actor WASTELANDER 

Talent: Brendan Guy Murphy & Sian Vilaire

Scott Hellon - Producer
Production Company: Point of View Pictures 

All photos by Bart Santello 
Taken at the Tucson Convention Center
November 8. 2015 

2015 Psychotropic FilmsTM

Friday, September 11, 2015

New Video Logo For Psychotropic Films


                        Created by Bart Santello for Psychotropic Films. 

Wednesday, July 01, 2015

Road Storm

The image below is a photo of the promotional graphic for "Road Storm" a forthcoming experiential digital project by Psychotropic Films.  A beautiful and incredibly chaotic lightning bolt was captured from a 1/30th of a second frame of digital video. The lightning bolt was not retouched; it's shown as photographed then was incorporated as a graphic element into the film's promotional art.


My motivation for Road Storm was to create an experiential film to communicate an unexpected storm event, experienced one night along the 25-miles of the Arivaca Road in July of 2014.  More importantly the unexpected is what one experiences routinely living along the Arivaca Road. Road Storm is a memory of that event.

The sound design I created for the work, came primarily from audio field recordings of the summer monsoon storms in southern Arizona.  The combination of the audio layered over the storm imagery creates a powerful sensory dynamic.

Sunday, March 29, 2015


MZUNGU: A Stranger's Dream in Africa
Director: Bart Santello

(above pic) A screen shot from MZUNGU:  A dusty Rwandan road leads to a mountain known to be inhabited by Gorillas.

It would be really cool if I could complete this film by mid-2015, provided the sound-design doesn't get too complicated; and I can complete a complex edit on the final scene known to me as the "Chip Riot". We'll see how everything goes. 

A mysterious image appears in Bart Santello's forthcoming work 'MZUNGU'.

Thursday, January 29, 2015

Previsualizations Appear

Photo: Educator Gina Aroneo in her classroom 
at Barry Goldwater High School, Phoenix 

Gina is the writer/producer for the forthcoming Spaces Between Time film.  I posted a scene element (as I call it) here on VIMEO 

This scene is meant to create a mystery that's linked to a scene from "Outskirts of Infinity

Although this screen shot is darker than it will appear in the film, it is the look I settled on in the segment, in order to bring Gina to the center of attention and minimize the less interesting elements in the wide angle shot.  

In addition, I wanted to add a psycho-social element to the look of the scene.  I wanted to convey, in effect, that she's talking to herself.  The students appear marginalized by the blurring-effect, suggesting marginalization and eventual disassociation.  This isolation is also evident in the imagery of the school in the short.

Sunday, June 15, 2014

Metaphysical Elements

The featurette for the forthcoming "Outskirts of Infinity" DVD is in production..
This past weekend writer-producer for The Spaces Between Time, Gina Aroneo, engaged Arivaca artist Peggy Kane in a conversation about her metaphysical paintings that inspired concepts in Outskirts of Infinity and helped establish the filmic frame-work that led to a sense of timelessness and contemplation of inter-dimensional gateways in the film.

Above: Still image from digital video of Peggy Kane in her studio (Arivaca, AZ)
Go to the blog here: