Oscar, best film, and WOU ,best cinematography, a digital film !!!

[Philipe Ratton]

I find it amazing, the cinema world is really changing. I know that slumdog wasnt shot on red but I know that in a little while we gonna see a lot of red movies at The Oscar. Its so good for people like me, who live in a country that doesnt have a big cinema industry,like Brazil, to be able to make a movie with a lot less money and finally dream with world recognition.2K, 3k, 5k, 28K, whatever, I cant wait to get my RED !

 

[Michael Brennan]

not quite the oscar for a digital movie...yet

not quite the oscar for a digital movie...yet

Slumdog was a mix of film and 35mm. He is reported as saying that he used the S1 as it was unobtrusive, an important consideration when shooting in India where crowd control is nigh impossible in city and urban areas.

Mike Brennan

 

[warrick mcleod]

Slumdog was a mix of film and 35mm. He is reported as saying that he used the S1 as it was unobtrusive, an important consideration when shooting in India where crowd control is nigh impossible in city and urban areas.

Mike Brennan

what do you men film and 35mm
sorry i have not seen the film yet
is there a mix of stills ?

peace is a way of life
fight for it:construction:

 

[Dan Hudgins]

50/50%

50/50%

is there a mix of stills ?

It seems it was about 50% 35mm movie film and 50% Digital. Of the digital some short parts it seems were DSLR and the balance SI-2K mini. If you google there are many links on this subject...

It seems the tide has turned with regard to the industry accepting Digital as the equal to film in top level productions. The only real time you would need to shoot film now is if you need to point your camera into the sun (people it seems were sometimes getting a sort of cross filter effect from the OLPF), other than that Digital has improved to the point that using it should not reduce ticket sales.

 

[David Wyatt]

It was indeed a mix of 35mm & SI-2K (and a bit of stills photography too with a Canon 1D MkIII according to imdb.com). Interestingly though, I heard Danny Boyle say in an interview at the Oscars that they started off shooting primarily on 35mm but then they began to think the material they shot on the SI-2K suited the script/story more & more, so they ended up using it a lot more.

 

[Josh Negrin]

Like anything, once it gets momentum everything about it seems amazing even if it's not. I'm not saying the cinematography for Slumdog wasn't great, but Valkyrie told a story, in many scenes, only through it's shots. There were so many overtones in Valkyrie's cinematography, I was amazed. I would describe a couple of them, but I don't want to spoil the film for anyone. There weren't any shots in Slumdog that blew me away like in Valkyrie, but Slumdog was an amazing film imho.

 

[Michael Brennan]

No watersheds yet

No watersheds yet

....
It seems the tide has turned with regard to the industry accepting Digital as the equal to film in top level productions. The only real time you would need to shoot film now is if you need to point your camera into the sun (people it seems were sometimes getting a sort of cross filter effect from the OLPF), other than that Digital has improved to the point that using it should not reduce ticket sales.

Dan, I don't disagree with you that digital is getting close but I don't think the tide has turned in respect to large budget movies.


This is despite that most peole can't tell the difference between film and digital in projects where the DP has full control of subject contrast. In fact anecdotal evidence from cinema owners suggest the public prefer a digital shot and projected flick.

Yet most cinematographers/producers of large budget movies are still voting for film most of the time.

In my view there hasn't been significant enough advancements in digital in the last few years to account for it's (slowly) increasing acceptance, so I think what is happening is that the industry moves carefully when reputations and millions of dollars are at stake, perhaps it takes a demise at the top to allow new blood in at the bottom!

Lets see what effect Epic has, with 14 bit AD and 14bit files it is a significant step forward.

Aside, TV is moving relatively quickly to higher capture and display frame rates, a process that is comparatively expensive for film, so it is no surprise that proponents of digital such as John Galt are promoting high capture and display frame rates.

I've always said that it is better to give digital its head than for it to ape film, or we are bound to repeat the aesthetic of wobble, strobe and grain that for the latest generation of kids is becoming far removed from most other forms of visual stimulus that they are exposed too.

I don't think Slumdog is a watershed. Cinematography awards for 100% digital movies have been won years ago, so an Oscar for one that was shot 50% digital apparently because the camera was small is of historic note and if nothing it keeps the momentum going that started with "Star Wars" and continued with "Collateral".


Mike Brennan

 

[J. P. Sendall]

OK, I'm going against the tide of opinion here but Slumdog had some awful shots in it regarding video noise. Initially I saw them in the studio gameshow setting and I thought that was a look they were going for but then the noise was in a lot of other shots too. Deakins was quoted as saying he couldn't see the difference. Well, I think I must have seen another movie. As far as story goes, fantastic but Oscar for cinematography, no, don't agree.

 

[Jonathan Fulton]

Just wait, Knowing will sweep the Oscars next year, you know it's gonna happen... ;-)

 

[Philipe Ratton]

This year's Oscars is gonna be EPIC

 

[Shane Betts]

Well, next year's ... This year's maybe MX, 2012 will almost certainly (given the preponderance of 3D projects) be dominated by Epic.