I think that what folks didn't do, though, is split apart production,
presentation, and post-production.
Right now, digital production looks okay, digital post-production can
look incredibly good, and digital presentation technology has a long way
to go.
It's the job of the filmmaker to pick all
Thanks to everyone who posted in response to my question about film and
digital (I hope the responses continue). Lots to think about, and I will
respond in greater detail to some of the posts within a few days.
Though I am a digital skeptic and a film luddite, I didn't mean to pose the
question in
Thanks, James, for the link to that piece on LCD sets in stores. Great stuff.
When I say 'digital is not one thing' I am not engaging in any kind of generic
'pro digital' advocacy, because many of the things digital can be are pretty
sucky, and it takes effort to find those that are not. In gene
I've been enjoying the thread. Kudos to Jonathan for knowing how to get a
summertime Frameworks thread going.
I offer these two links not in response to specific points in the
discussion so far, but because the discussion came to mind as I came across
these in the past few days.
First, via Bad L
While formerly a strong opponent of seeing films on video (an opposition
that arose in the days of VHS tapes and CRT displays; see my 1985 article
on this at http://www.fredcamper.com/Film/Video.html , which I think still
makes relevant points about film), I now agree with Aaron and others that
"vi
Pip, my understanding is that old-school analog video had about seven
stops of latitude. Current generation digital video cameras have
about nine stops of latitude. If you shoot in RAW, then you
effectively get the same latitude as film.
Digital cameras and projectors are not really linear. The
> We use the word "image" flippantly. Is a painting an image? Students may
> think they've scene the Mona Lisa or a Kubrick film because they've seen them
> online, but a painting has weight and texture, a film has grain and material,
> and that is what we are seeing - not just the image of it.
List
Subject: Re: [Frameworks] Film and Digital for beginners
Hi Jonathan,
one important aspect is that in film,
the smallest unit one can modify is the frame, while in digital video the
smallest unit is the pixel.
cheers
Bernd
Am 13.07.2012 um 22:42 schrieb Jonathan Walley:
> He
Hi Jonathan,
one important aspect is that in film,
the smallest unit one can modify is the frame,
while in digital video the smallest unit is the pixel.
cheers
Bernd
Am 13.07.2012 um 22:42 schrieb Jonathan Walley:
> Hello everyone,
>
> This question isn't about experimental cinema specifical
Hi Jonathan,
One technical difference people don't often mention is sensitivity
curves. Film has a logarythmic, S-shaped curve, to capture
information across 12 f-stops. For example, on film, a sunny scene on
a bridge with action in the sun and also in the shadows under the
bridge, all will be
From: David Tetzlaff
>
> The typical student today doesn't get that some things just shouldn't be
> watched on an iPhone, or even a 48" flat-panel because they need a much
> bigger canvas and the viewer's undivided attention. Beat THAT difference into
> their head, get them to appreciate CINEMA
Jonathan:
Aaron's right. Digital is not one thing. Neither is film. Coincidentally, just
this morning I was at the archivist seesion at the Silent Film Festival in SF,
and it was all about digital restoration. The guy who restored Dr. Strangelove
showed the 4K digital restoration flipping back
Wow, what a dangerous topic. ;)
"Digital" is not a monolith. The difference between consumer
equipment and professional equipment is HUGE.
For example, richer black is eminently do-able in the digital domain,
you just need an expensive projector, and the files must be encoded
properly. Anyway
Hi Jonathan,
Great question, thanks for teaching cinema! There are, for sure,
appreciable differences between the media - and I know that's what you were
asking for - but I think it may be valuable to mention to your students the
similarities of the media in terms of motivation. Each, in its tim
Hello everyone,
This question isn't about experimental cinema specifically, but it's
certainly an important question for our world, and I think experimental
filmmakers (and scholars, critics, etc.) are among those best equipped to
answer it. So here goes. There is some preamble meant to set the st
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