Glancing through the latest issue of the ASC’s American Cinematographer Magazine (March), I ran across this ad. A spendid book of interviews coquettishly titled Cinematographer Style, The Complete Interviews, Volume One.
Available from the store at the ASC site for $45 as a CD with a book of transcripts and tips, it seems a special way to start the spring reading list. To point out any of the people interviewed would be to denigrate the rest on the incredible list. See for yourself.
I don’t know if the magazine is supposed to be available as a download for everyone on the site, but it is now. Perhaps this is a promotion to suck you in, as the magazine is impossible to put down once any article is opened. If it is a computer mistake, then I apologize for the error.
[B4 ShoWest]It is the smallest of shows, it is the most critical of shows.
[Après ShoWest] Small begins to describe this years show. Whole contingents of studio personnel didn’t show, whole sections of the program were wiped off the schedule.
I have been to 250 conventions in the last 35 years. And as important as any of them are with symposiums and committee meetins, they are substantially equipment conventions. The immediacy is taken away by the fact that many manufacturers are showing product that isn’t going to be ready for prime time for 6 months or more.
[Après ShoWest] ShoWest 2009 had a couple of interesting symposiums. But not many. And the manufacturers and sales companies with displays were pretty much showing the same things as the last 3 shows before. They have to be here, but if there were no ‘here’ here, I bet few of them would be the worse for it.
And ShoWest has a little of that too. 15 minutes of a movie might be shown in full detail, then a few minutes of storyboard and a few minutes of wireframe. But they are right out front…this is what we are working on for Summer (a year from now.) They don’t pretend like it is just a few lines of code away from being perfect.
[Après ShoWest] The movies can be good, true. But when 2 studios don’t really come to the table because their corporate masters pulled all travel as an option, this is not a good thing. Bad tactics by the bosses since the movie industry can be shown to be holding its own.
The document Digital Projection in Cinema has been released by the CNC (National Centre of Cinematography), dated June 2007.
Among the general details about implementation of equipment, on Page 3 they make the statement:
Later on, the standard published by the SMPTE will probably be brought into line with the international ISO norm. However, while this ISO standardisation would give the SMPTE standard an undeniable legal foundation, it is clear, as is the case, for example, in the field of HD television, that the SMPTE standard would have force of law on an international level.
When will this be filled with something interesting.
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