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Michael Scrutchin
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the night watchman
Studio Exec
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 Posted: 09.05.2003 3:51 am Post subject: |
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Wow! He shot "Mexico" on digital?! The trailer looks great! Now I really can't wait to see this flick. This is great news for independents. Maybe one day we'll all be able to make movies.
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Mark Dujsik
Director
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| Posted: 09.05.2003 7:09 am Post subject: |
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| the night watchman wrote: | | Wow! He shot "Mexico" on digital?! The trailer looks great! Now I really can't wait to see this flick. This is great news for independents. Maybe one day we'll all be able to make movies. |
The main reason digital filmmaking is so important. It will never replace film, but it does offer a legitimate option for any director. And after seeing 28 Days Later, I'm convinced more than ever that it does have a place in mainstream cinema.
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the night watchman
Studio Exec
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Location: Dark, run-down shack by the graveyard.
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| Posted: 09.05.2003 8:18 am Post subject: |
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You know, 28 Days Later would be nothing without the sound. Well, it'd be something, but it might not strike you so quickly without it. Can we have an digital sound now? Can I say it'd here?
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"If you're talking about censorship, and what things should be shown and what things shouldn't be shown, I've said that as an artist you have no social responsibility whatsoever."
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the night watchman
Studio Exec
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Location: Dark, run-down shack by the graveyard.
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| Posted: 09.05.2003 8:54 am Post subject: |
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[dumb post; skip it]
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"If you're talking about censorship, and what things should be shown and what things shouldn't be shown, I've said that as an artist you have no social responsibility whatsoever."
-David Cronenberg |
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Michael Scrutchin
Studio President
Joined: 26 Jun 2003
Posts: 832
Location: Pearland, TX
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| Posted: 09.05.2003 3:11 pm Post subject: |
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| the night watchman wrote: | | Maybe one day we'll all be able to make movies. |
I'd say that day was here years ago. We've got legitimate, quality movies like Townies (2000) being made for $300 and Hall of Mirrors (2001) for $4,000 -- both using consumer-grade digital video camcorders that anyone can pick up at Best Buy for under a grand. J.R. Bookwalter and the folks at Tempe Entertainment have been shooting feature-length movies on digital video since 1996. The micro-budget shot-on-video horror movement began in the early '90s, with movies like Bookwalter's Ozone (1993) being shot on S-VHS and Shatter Dead (1994) and Vampires and Other Stereotypes (1994) being shot on Betacam SP. Actually, I guess you can say it all started with 1985's Blood Cult, the first feature-length movie shot on video (Betacam SP to be exact) and the first direct-to-video movie.
The technology is here for anyone who wants to use it. Get yourself a MiniDV camcorder (priced anywhere from $500 to $5000) and get a Mac with iMovie or Final Cut Pro -- or a PC with Adobe Premiere, although I wouldn't recommend it -- and you've got the basics. You can make a movie.
As Brad Osborne said in my interview with him back in 2001:
"I think the technology is totally enabling. Filmmaking used to be an art form reserved for the rich, but now anyone with passion and creativity can make an excellent movie. I know there are some people who feel there are just too many films being made these days by "amateurs," but I don't see it that way. I mean, good films will always find a way to rise above the sea of mediocrity. We just have more opportunities now for that to happen."
Of course, in any discussion about digital filmmaking, we should distinguish between regular digital video (DV) and high-definition digital video (HD). The difference in quality and aesthetics can be so great that it's almost like the difference between 8mm and 35mm in some cases. Just to give you an idea, I'll list a few movies shot on each format.
Digital Video (DV)
- 28 Days Later
- The Anniversary Party
- Atanarjuat: The Fast Runner
- Bamboozled
- Chuck & Buck
- Dancer in the Dark
- Everything Put Together
- Full Frontal
- Personal Velocity
- Tadpole
High-Definition Digital Video (HD)
- A Decade Under the Influence
- Dogville
- How High
- Lovely & Amazing
- Masked and Anonymous
- Once Upon a Time in Mexico
- Session 9
- Spy Kids 2: Island of Lost Dreams
- Star Wars: Episode II -- Attack of the Clones
- View from the Top
There's an earlier thread in which digital video's affect on the cinema aesthetics is discussed, in case anyone missed it.
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the night watchman
Studio Exec
Joined: 27 Jun 2003
Posts: 1373
Location: Dark, run-down shack by the graveyard.
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| Posted: 09.05.2003 4:31 pm Post subject: |
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| Michael B. Scrutchin wrote: |
Of course, in any discussion about digital filmmaking, we should distinguish between regular digital video (DV) and high-definition digital video (HD). The difference in quality and aesthetics can be so great that it's almost like the difference between 8mm and 35mm in some cases. |
That's what I was talking about. HD will enable any schmoe to make movies that are, as far as image quality goes, equal to studio pictures.
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"If you're talking about censorship, and what things should be shown and what things shouldn't be shown, I've said that as an artist you have no social responsibility whatsoever."
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Danny Baldwin
Studio Exec
Joined: 26 Jun 2003
Posts: 1354
Location: San Diego, CA
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| Posted: 09.05.2003 10:52 pm Post subject: |
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I saw another interview with Rodriguez on TV which was quite interesting. I believe the budget was 40 million dollars and something like 35 of that went to the cast.
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Danny Baldwin
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Danny Baldwin
Studio Exec
Joined: 26 Jun 2003
Posts: 1354
Location: San Diego, CA
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| Posted: 09.05.2003 10:55 pm Post subject: |
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| Michael B. Scrutchin wrote: | | The technology is here for anyone who wants to use it. Get yourself a MiniDV camcorder (priced anywhere from $500 to $5000) and get a Mac with iMovie or Final Cut Pro -- or a PC with Adobe Premiere, although I wouldn't recommend it -- and you've got the basics. You can make a movie. |
I'm quite embarrassed to say that I still haven't figured out how to work Premeire...I use MGI...but all of that will change when I get my G4 laptop (which I hope is this year, I really do, hope).
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Danny Baldwin
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