21st Century Movie Making
In my review on Monday of Michael Mann's big screen version of his epochal 1980s TV series, I wrote:
I had a few big disapointments of my own with the film. First, its cinematography. Or, to be more prescise, videography. Whereas the original Vice set new standards for television cinematography, many of the scenes in this movie looked like television blown-up for the big screen. Indeed, when I got home, I searched around to find that Mann shot the film with a Thomson Viper FilmStream Camera--and it really shows. Despite all their shortcomings, George Lucas's digitally "filmed" Star Wars prequels all look like films. And when I go out to the movies, I want to see movies, or at least something that resembles the warmth and sheen of projected celluloid. Not digital, pixelated HD blown-up to the big screen.Chris Anderson, the author of The Long Tail, notes some additional benefits when shooting digitally:
"I think shooting in digital changes acting as much as film changed stage acting, or as sound changed film," said [actor/director Tony Bill].OK, I will: geez, shades of how Howard Hughes was portrayed in The Avaitor--or maybe Sterling Hayden in Dr. Strangelove.
But precious bodily fluids aside, those are some great observations about shooting digitally. And, as Libertas frequently notes, digital filmmaking opens the door to everyone--even those Hollywood would generally like to keep out.
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"If you're looking to wrap your arms around the key points of the Long Tail theory, check out the new 15-minute podcast with Long Tail author Chris Anderson over at TCS Daily. During the conversation with TCS Daily columnist Ed Driscoll, Chris explains what the shift from mass markets to niche markets means for business organizations and gives various examples throughout history when a changing economic distribution system altered the relationship between "blockbusters" and niche products."--Fortune
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