Keanu Reeves, indeed, has expressed himself most eloquently!
Not the least bit surprised. He is, after all, Canadian
“Photography is a complex and fluid medium, and its many factors are not applied in simple sequence. Rather, the process may be likened to the art of the juggler in keeping many balls in the air at one time!”
Ansel Adams, from the introduction to The Negative - The New Ansel Adams Photography Series / Book 2
Steve The average Motion Picture Film and Still Photography Film has an acetate base or an Estar base. Films produced by Agfa-Gevaert use a Polyester base.
Motion Picture film have a remjet backing, still films don't.There are some other differences as well but the base material is pretty much the same.
Wayne and Agx Panavision and Arri stopped making Analogue Movie cameras last year or early this year. Aaton stopped making classic filmcameras just a short time ago. What they sell is remaining stock, the market (rental houses) are currently saturated with classic movie cameras and a lot of budget minded Indie Filmakers switched to Red or the Alexa in a New York minute, a stupid move if you ask me, but on the other hand pretty much the only filmmakers still shooting in Anamorphic Widescreen are the indie Filmmakers and a few A-List directors. The US TV is partly to blame all US TV series went digital to cut costs (had to thanks to the recent strikes writers and actors) this move has hurt the classic moviemaking industry more than you can imagine e.g.CSI (used to shot on 3perf 35mm) one of the last series to use film went digital 2 seasons ago.
In my ideal world film origination and digital post would be the choice. During my time as film and sound editor and post production supervisor ensuring that a show print was free from dust printed in, scratches and other abrasions was a very full time job. Opticals (all those fades, dissolves, super titles and other everyday devices) were slow, expensive and not always exactly what the director wanted, thus sent back to the lab for more attempts. More exotic effects were the field of rare and very expensive technicians. Most of these effects are desk top procedures now and offer immediate results for approval.
It has to then become a saving to originate digitally.
"Vera Drake" may have been shot on 16mm, I do wonder how the post was done. It was always a huge compromise to work with 16mm magnetic film, poor frequency response and almost impossible to "fit" looped dialogue. 35mm magnetic film allowed the editor to adjust in increments of 1/96th of a second, 16mm 1/24th. I recall seeing a BBC feature film shot in 16mm and blown up for cinemas where the theatre had a sign up apologising for the sync of some of the dialogue.
These days (of retirement) I thoroughly enjoy the clean, unscratched, non weaving (watch a film print closely, they all weave to some degree) projected image of digital projection.