The Triumph of Digital Will Be the Death of Many Movies
The 35mm reel is slowly shuffling off this mortal coil
….big studios still make analogue back-ups for their archives—even for films that were shot digitally and will never be shown to the public using a 35mm projector.
Economics and archivists
Peter Jackson Starts Shooting ‘The Hobbit’ at 48 FPS: Why 24P May Be on the Way Out
which contains an impressive video by Doug Tumball explaining and showing how 24 fps and 60 fps can be extracted from 120 fps filming.
There is a link to Peter Jackson’s Facebook page ( 11 April 2011) 48 frames per second
Culture warrior: Digital Cinematography in Hollywood
By Landon Palmer 6 July 2009
” …digital cinematography has become sophisticated enough to be embraced by the major studios. This acceptance in part has to do with its recent ability to imitate film, thus legitimating the technology by acknowledging its ability to have no noticeable difference from its standardized celluloid predecessor. ”
By Kristen Daly
Long essay includes a ‘Godard’:
The idea of the original is tightly linked to the concept of the auteur. Digital technologies serve to undermine the status and authenticity of the auteur. Jean-Luc Godard, whose new mode of cinema helped solidify the concept of auteur, admits outrage at this state of events. He says, “The cinema, as we knew it and as it no longer exists, helped make things visible. . . . The metaphor of the film negative and the positive print was a moral metaphor. But with digital cameras the negative no longer exists – there’s no more negative!” (Bonnaud 40)
A post in Godard Montage, 28 November 2009. A video interview with film-maker Harun Faroki in which he says,
“In my early years I thought the haptic nature of film was very imortant. You could touch and measure your material a bit like with an old typewriter. Back then you had an entire page in front of you and not only a fraction of it. And you could really measure your work by the stack of paper next to the typewriter. But nowadays I got rid of these little delusions. You can actually work much better on 16mm material much better on your computer. The images on screen are much better and the sound tracks are easier to handle.”
Richard Brody 12 January 2011
Interviewed by Brody in Rolle in 2000 Godard:
…explained that he preferred to edit video with analog rather than digital technology, because, he told me, with digital technology, “time no longer exists.” And the example he gave me came not from the cinema but from literature and what he called “the electronic book.” He got up from his chair, brought a book from his bookshelf, and brought it back to his desk.
* Definition of Analog Film Camera
Perhaps chemical/digital might be a better distinction. Though analog-digital is used everywhere.
Though this article with its graphs:
Film versus Digital My Summary
is dated (see digital camera models and max megapixels) but there is a comparison summary at the beginning.
It’s only a short post:
Godard is correct I think not to respond to this question. There is a pause, a moment of silence, and then a cut. The question, in an important sense, is not for him to answer (and it’s a nice touch that the lighting of this shot doesn’t allow us to search for an answer in his facial expressions). This is a question for the next generation of filmmakers and artists. Oui ou non? They must decide – or, by not deciding, fail.
Although the post doesn’t say it, the still comes from Godard’s 2004 film Notre Musique.
There’s a YouTube of the scene without subtitles:
A student now asks Godard, “Can the new little digital cameras save the cinema?”
One Plus One
Eric Hynes on Jean-Luc Godard’s In Praise of Love
No date on this post.
“Film Socialisme” was shot in digital:
CANNES REVIEW | Oh God(ard): Is “Film Socialisme” the Scandale du Festival?
by Eric Kohn (May 23, 2010)
Spotlight : Film Socialsme (Jean-Luc Godard Switzlerland/France)
Film Socialism: The Gold Standard
Richard Brody, New Yorker, 1 June 2011