The future of cinematography is digital; that seems certain. No one can say when it will become entirely so, but it began long ago. Computers are now indispensable in postproduction, while digital technology is increasingly entering image capture.
In an effort to preserve the typical film look with the new technology, leading manufacturers of conventional film cameras and video camcorders are meeting again—while new companies are also entering the market with concepts of their own. A new generation of HD cameras featuring large Super 35 mm sensors and PL lens mounts that allow established cinema lenses to be used was introduced this year.
Yet the future of cinematography is also analog, meaning optical and photochemical, at least for quite some time; almost everyone agrees on that. While interest in HD technology continues to grow, the classic 16 mm camera is also experiencing a renaissance as a low-cost and reliable alternative. The best of both worlds, from acquisition to postproduction, will be on display at cinec at Munich’s MOC from 20 to 22 September.
$$$$
Technology is also advancing in accessories and equipment. Flat-panel LCD displays offer a lightweight and flexible alternative as reference monitors. Until now, few models offered sufficient quality, especially at HD resolution. Since NAB, several manufacturers have introduced displays, some of them even relatively inexpensive.
Light-emitting diodes, which for years served only as indicator lights on electrical devices, have developed rapidly in recent years. They are now also offered as LED lights for moving-image production, although mostly in small versions for news applications and with weaknesses such as multiple shadows caused by combining many small light sources.
This touches on only the smallest part of what lighting technology has to offer cinematography. After all, cinematographer John Alton described his filmmaking art as “painting with light” 60 years ago. While lighting plays only a minor role at the two major broadcast trade shows, cinec gives it the space it deserves: more than 20 companies from Europe and the United States will present established and new lighting developments for every conceivable image-design application.
$$$$
Whether analog or digital, the requirements placed on supporting equipment remain the same. More comprehensively than any other European trade show, cinec presents the complete range of cranes, dollies, tripods and camera-stabilization systems, along with specialist solutions from a wide variety of fields.
Theoretical questions will not be neglected alongside the technology. An extensive supporting program in cinecForum is devoted to the future of cinematography. Principal topics will include the effects of advancing digitization at every stage of production and distribution, as well as filmmakers’ personal experiences.
Computer and video technology also bring different product cycles into the industry. While film cameras using 35 mm or 16 mm stock can remain in service for decades, video formats change at an ever-increasing pace. Under current conditions, image material must be migrated every six to seven years, with a risk of quality loss. Digital data must also contend with unwanted artifacts.
The new technology itself offers possible solutions. It is revolutionizing not only acquisition and postproduction, but also opening up new possibilities for restoring film collections. This is necessary even for new material: where data exists digitally, the storage medium is subject to chemical and physical degradation processes similar to, and usually much faster than, those affecting film stock. Nevertheless, awareness of issues such as data migration and long-term archiving is growing only gradually. At cinec, they are already being examined competently and answered according to current knowledge.
Further Links:
- Further information
Exhibitor directory
