Likewise, RED’s One MX in Abbas Kiarostami’s Like Someone in Love and the Taviani Brothers’ Caesar Must Die - at 81 and 83, their first digital film - and RED’s Epic in Robert Zemeckis’ Flight. A blue-chip festival that skims the crème of Cannes and other international festivals, the NYFF is weighted towards major works of cinema shot on 35mm like Christian Petzold’s Barbara, Christian Mungiu’s Beyond the Hills, Brian De Palma’s Passion, Alain Resnais’ You Ain’t Seen Nothin’ Yet, and Olivier Assayas’ Something in the Air (shot with Aaton 35-III and Penelope).īut a bastion can turn a bellwether, and this year at the NYFF I noted the role of ARRI’s Alexa in Michael Haneke’s Amour, Roger Michell’s Hyde Park on Hudson, and David Chase’s Not Fade Away. I noticed the same thing at the New York Film Festival last fall, where outgoing programming director Richard Peña confirmed that most screenings were via DCP. The HDCAM cassette, a staple of digital projection at Sundance for a decade, is now required as backup only. Everything else, regardless of origination, was digitally projected from a DCP file sitting on a server. This year five films at most were projected as 35mm. Because there were scant few film reels at Sundance. Paragraph two of Variety’s lead began: “When the reels start spinning in Park City…” More on cinematography as tossed salad below.
In fact, not only were last year’s #1 and #4 hits filmed with ARRI Alexas ( The Avengers, Skyfall), but Avengers DP Seamus McGarvey, true to his indie roots, reached for his grab bag, throwing in Canon 5D Mark IIs and 7Ds and the occasional ARRI 435 loaded with Kodak Vision3 5219. It’s hard to storm the ramparts when last year’s #5 and #7 box office hits were shot with RED Epics ( The Hobbit: An Unexpected Journey, The Amazing Spider-Man). As a token of digital revolution, RED cameras are so five years ago. I was struck by how little any of this has to do with indie filmmaking alone. The day Sundance began, Daily Variety’s lead article kicked off with: “In this brave new indie world of VOD, shifting release windows, RED cameras and social media marketing…” In Cinematography, Festivals & Events, FilmmakingĪRRI Alexa, Cameras, Canon 5D, Canon 7D, Kodak, Panasonic, Panasonic GH2, RED Epic, Sundance Film Festival, Sundance Film Festival 2013
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