peter webb tjebi
Mon Jul 15 00:05:46 BST 2002

tig-request at tig.alegria.com wrote:

> From: Bill Hogan <billhogan1 at earthlink.net>
> Subject: [Tig] HIGH DEFINITION from the LA Times July 11, 2002
> FROM THE LA TIMES July 11, 2002
> Filming Without the Film


That was an interesting article - one of several similar ones to hit the press in recent times.

And like others in the "film is dead" thread - it didn't clearly distinguish between acquisition,
post production and distribution. The example that Lucas used - Monsters Inc. - wasn't shot on
film, so the fading, poor focus and jittering in the projector gate are problems associated with
the delivery process, nothing to do with shooting High Definition Digital. I don't even understand
why it would have poor focus unless the projectionist at Lucasfilm had also spent 4 years in a
shopping mall cinema !

I think we are currently in a rapid transition period where the paradigm or model of film
production that has been around for a long time, is changing. Timing is perfect for people like
George Lucas who wish to advance their point of view and don't mind using misinformation or less
than valid demonstrations to do so.

I wonder if there is an equivalent newsgroup to this, but for the folks that colour grade films at
the lab - colour timers. If there is, i wonder what the conversation is there because digital
acquisition and distribution will kind of bypass the lab. Even projects that are digitally mastered
but distributed on film will most often go through the labs as one light, no colour timing, so
those folks must be having a big re-think right now.

The flow of colour through a "film" is as much a narrative process as editing and needs experienced
people to do it well so my guess is that the crafts of lab colour timing and telecine colour
grading are in the process of merging. Even the role of Cinematographer as a creative force in
realising the colour palette of the "film" will in part probably move even more into

ok I'm rambling a bit now ! I guess in a nutshell, my point is that the nature of the process -
when and where creative decisions are made, and the range of tools available to tell a story - is
changing. And it's changing MOST in the areas where we work, our part of the process. I have been
thinking a lot about what that means and how i will adapt to these changes.


Peter Webb.
Melbourne, Australia.

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