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  1. #61
    StoneNYC's Avatar
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    Quote Originally Posted by David A. Goldfarb View Post
    Aside from the beauty of film prints and formats like 70mm IMAX that are only available in very few cities today, the danger for us as film photographers, I think, is the decline in demand for film base, which is used for release prints. If that dries up, there's less reason to manufacture it.

    Hard drives are so much cheaper to ship than stacks of 35mm reels (from Europe to the US the round trip cost can be around $150 for digital, $1600 film for a typical feature in 35mm) that the shift to digital offers the possibility of more variety of movies available in more markets, which is a good thing, if it happens.

    Digital cinema projection still isn't foolproof. If you have a technical problem with digital, you may lose the sound, the subtitles, etc., and there's nothing to do but send the audience home with a refund, which I've seen happen at the most sophisticated New York venues. If the film breaks, you can splice it.
    Ship??! Hah! They are now just downloading them to the projector!
    ~Stone | "...of course, that's just my opinion. I could be wrong." ~Dennis Miller

  2. #62
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    I think digital will do for movies what cable did for TV. There are just as many good shows on TV as there were pre-cable, but with the exponential growth of crap, it's so difficult to find them it's not worth the bother.
    Truzi

  3. #63
    Photo Engineer's Avatar
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    All this furor in spite of Sony buying a gazillion dollars worth of ECN and ECP as stock for at least 5 years or more. This gave Kodak quite a boost.

    PE

  4. #64
    David A. Goldfarb's Avatar
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    Quote Originally Posted by StoneNYC View Post
    Ship??! Hah! They are now just downloading them to the projector!
    In theory, but it's not entirely there yet. The last couple of years dealing with films coming from Europe to screen in New York with the institution I just left, we're still shipping hard drives for DCP and the films have to be uploaded from the drive to the theater's network. The theater gets a code to activate the film for a limited period, and the drive can be shipped on to the next venue. Given the upload/download cost of that much data and network speed available for what theaters can afford in many markets, shipping may actually still be cheaper at this point.
    flickr--http://www.flickr.com/photos/davidagoldfarb/
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  5. #65
    StoneNYC's Avatar
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    Quote Originally Posted by David A. Goldfarb View Post
    In theory, but it's not entirely there yet. The last couple of years dealing with films coming from Europe to screen in New York with the institution I just left, we're still shipping hard drives for DCP and the films have to be uploaded from the drive to the theater's network. The theater gets a code to activate the film for a limited period, and the drive can be shipped on to the next venue. Given the upload/download cost of that much data and network speed available for what theaters can afford in many markets, shipping may actually still be cheaper at this point.
    Ahh, good point
    ~Stone | "...of course, that's just my opinion. I could be wrong." ~Dennis Miller

  6. #66
    StoneNYC's Avatar
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    Quote Originally Posted by Photo Engineer View Post
    All this furor in spite of Sony buying a gazillion dollars worth of ECN and ECP as stock for at least 5 years or more. This gave Kodak quite a boost.

    PE
    Gazillion?

    That's good news, and I thought I was rich with 150 feet of 500T and 150 feet of 250D... Lol
    ~Stone | "...of course, that's just my opinion. I could be wrong." ~Dennis Miller

  7. #67
    AgX
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    Quote Originally Posted by David A. Goldfarb View Post
    Aside from the beauty of film prints and formats like 70mm IMAX that are only available in very few cities today, the danger for us as film photographers, I think, is the decline in demand for film base, which is used for release prints. If that dries up, there's less reason to manufacture it.
    I do not see this. The relationship between all types of film-making is stronger than any relationship between base-making and film-making

  8. #68
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    Quote Originally Posted by Thomas Bertilsson View Post
    Anybody boiling their movie experience down to what medium the film was shot on and projected with are artfully missing the point of making films in the first place.

    Either a film is good or its not. No different from a photograph, really. Did you enjoy or get something significant out of watching the end result? That is the only question worth asking.
    If you look at "There Will Be Blood", and compare it to "Skyfall", you will see the difference immediately. Forget about the movie's plots and just look at what you see on the screen: "Skyfall" shows that digital is really grain/noise free at high ISO, but the night scenes look plasticky and artificial, with gaudy colors and weird looking contrast. The color palette of "There Will Be Blood", on the other side, made me buy a dozen rolls of Portra right away because I liked it so much. I know the movie wasn't shot on Portra but the colors are very similar.
    Trying to be the best of whatever I am, even if what I am is no good.

  9. #69
    David A. Goldfarb's Avatar
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    Quote Originally Posted by AgX View Post
    I do not see this. The relationship between all types of film-making is stronger than any relationship between base-making and film-making
    The question would be--what percentage of all film base is used for 35mm and 70mm print film? It seems like it must be significant.
    flickr--http://www.flickr.com/photos/davidagoldfarb/
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  10. #70
    Thomas Bertilsson's Avatar
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    Quote Originally Posted by Rudeofus View Post
    If you look at "There Will Be Blood", and compare it to "Skyfall", you will see the difference immediately. Forget about the movie's plots and just look at what you see on the screen: "Skyfall" shows that digital is really grain/noise free at high ISO, but the night scenes look plasticky and artificial, with gaudy colors and weird looking contrast. The color palette of "There Will Be Blood", on the other side, made me buy a dozen rolls of Portra right away because I liked it so much. I know the movie wasn't shot on Portra but the colors are very similar.
    I KNOW that you can see a difference. What I am challenging with my statement has a lot more to do with the total movie going experience. If the digital capture bothers you so much, then why are you in the cinema in the first place? To view the wonders of film frames captured on 35mm stock, or are you there to have an experience of emotions, laughter, tears, disgust, wonder, amazement, and thought provocation? Like I said, artfully missing the point.
    "Often moments come looking for us". - Robert Frank

    "Make good art!" - Neil Gaiman

    "...the heart and mind are the true lens of the camera". - Yousuf Karsh



 

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