Looks like you are a new visitor to this site. Hello!
Welcome to Hope For Film! Come participate in the discussion, and I encourage you to enter your email address in the sidebar and subscribe. It's free! And easy! If you have any suggestions on how to improve this website or suggestions for topics please don't hesitate to write in to any of the blogs.
(If you keep getting this message, you probably have cookies turned off.)
Scott Kirsner tipped me to this video (from the Criterion Collection) about the first film shot on The Red — that little thing called CHE. I just shot with The Red on SUPER and had a great experience. Among the joys were incredibly quick dailies (truly living up to their name) while on location. It definitely played a big hand in how fast we moved on that show (38 set ups/day!) as we never had to reload. The technology has progressed rapidly since Che Hearing though of it’s development, and what Soderbergh and team went through using it on CHE, I am so thrilled that others got to work out the kinks first! Thank you.
I like how Soderbergh speaks about how digital gives you time to get to a “point of reflection” quicker so that you can sit back and consider your work on a macro level much sooner. I find that most innovations in our field that I have gotten to experience first-hand ultimately matter most as creative tools and not economic solutions.Tweet
For my tastes, I have long encouraged the practice of getting away from the cinema of excess and getting back to the compromise. I have always learned a great deal by bouncing back and forth between budgets. Truth be told, for me it is out of necessity, not strategy. Yet for directors, the proof has come that it should be part of the process.