cutting on the action

photography and film – facts, ideas, values

FILM DIGITAL CINEMATOGRAPHY 24 fps maybe be on the way out



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



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June 9, 2011 Posted by | 120 fps, 24 fps, 48 fps, 60 fps, Douglas Trumball, film - digital cinematography, film analog/digital, film stock | Leave a comment

FILM ANALOG / DIGITAL # 7 – The DSLR Cinematography Guide



The DSLR Cinematography Guide


from nofilmschool


A 100-page manual which is also available in hard-copy



June 9, 2011 Posted by | DSLR Digital Cinematography Guide, film - digital cinematography | Leave a comment

FILM ANALOG / DIGITAL # 5 – The Red One



Proof in the Pudding where Red One is Concerned



June 9, 2011 Posted by | film - digital cinematography, film analog/digital, high-definition digital video, Red One | Leave a comment

FILM ANALOG / DIGITAL # 3 – Hollywood



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. ”



June 9, 2011 Posted by | film - digital cinematography, film analog/digital | Leave a comment

FILM ANALOG* / DIGITAL #2 – Theory



The Dissipating Aura of Cinema

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)



History: Digital and Analog

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.”



Godard on e-books

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.



June 9, 2011 Posted by | film - digital cinematography, film analog/digital, Godard, haptic, Jean-Luc Godard | Leave a comment