version
Well-known member
Is there not a remaster? A decent Blu-ray of something shot on film can look gorgeous, see: any of the boutique Blu-ray companies, e.g. Criterion.
The Weight of Digital Realism
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Is there not a remaster? A decent Blu-ray of something shot on film can look gorgeous, see: any of the boutique Blu-ray companies, e.g. Criterion.
version
Well-known member
A working digital colorist or cinematographer in 2024 is likely all too familiar with one particular question: “Can we get the ‘film look’?” A decade into the age of digital sensors as the increasingly dominant and default shooting format, filmmakers at all budget levels are increasingly looking back at celluloid for inspiration. Phenomena once seen as drawbacks to be minimized—grain, chromatic aberration, anamorphic distortion, lens flares, halation—have not only become desired, but, if hordes of YouTube camera gurus are to be believed, “cinematic.” That is, these elements associated with this particular image formation workflow are essential to what constitutes “cinema,” a form that within this logic reached its textural apex in Hollywood at some point in the 1970s. A sort of textural neoclassicism has taken hold.
filmmakermagazine.com
The “Film Look” and How <em>The Holdovers</em> Achieved It - Filmmaker Magazine
Publication with a focus on independent film, offering articles, links, and resources.
filmmakermagazine.com
mixed_biscuits
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A problem is that even if the filming media are thereby optimised, our displays are not necessarily best and they are certainly different to what we had in the 80s. A celluloid projector now may be the same as one back then but LCD screens do not produce images and moving images in the same way that CRTs do.A working digital colorist or cinematographer in 2024 is likely all too familiar with one particular question: “Can we get the ‘film look’?” A decade into the age of digital sensors as the increasingly dominant and default shooting format, filmmakers at all budget levels are increasingly looking back at celluloid for inspiration. Phenomena once seen as drawbacks to be minimized—grain, chromatic aberration, anamorphic distortion, lens flares, halation—have not only become desired, but, if hordes of YouTube camera gurus are to be believed, “cinematic.” That is, these elements associated with this particular image formation workflow are essential to what constitutes “cinema,” a form that within this logic reached its textural apex in Hollywood at some point in the 1970s. A sort of textural neoclassicism has taken hold.
The “Film Look” and How <em>The Holdovers</em> Achieved It - Filmmaker Magazine
Publication with a focus on independent film, offering articles, links, and resources.
I think a good rule of thumb is that the degree to which a creative medium enables intuitive subconscious artistic decision-making should be maximised. CGI, for instance, involves far too deliberate a creative process.
WashYourHands
Cat Malogen
Every Frame a Rembrandt: Art and Practice of Cinematogr…
This book examines the art and craft of motion picture …
mixed_biscuits
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Film-makers should also not restrict their use of celluloid to period pieces...it's like only releasing 70s music on vinyl.
wild greens
Well-known member
This is genuinely a chapter in Infinite Jest
mixed_biscuits
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Just imagine what data they are getting from this.