Chris Simpson fumbled in a pitch-black closet, hand-cranking a spool of black-and-white film from a decades=old movie camera. He held his team’s hopes for film glory — or, at least, $200 in prize money. Any exposure to light would destroy his team’s chance of winning its manic race to make the best shoestring-budgeted film in 24 sleep-deprived hours. The fast-film contest jump-started last week’s Dallas Video Festival. Julia Glick reports.