Bridge On The River Kwai on 11/2 (1 Viewer)

[Brianruns10]

I never thought I'd be saying this in my whole life, but RH, I hope you're wrong.

 

Nevertheless, I shall always hang onto my Bolex and Eclair. If/When film does go away, they will be fine pieces for my bookshelf, and a source of a lot of great memories!

 

BR

 

[Adam_S]

I really hope somewhere in Los Angeles screens this publicly in 4k. I'm crossing my fingers for the academy.

 

[Brianruns10]

So is it doubtful they'll be striking any new prints, even one?

 

[Stephen_J_H]

They have probably struck archival seps and other elements, since digital storage is such a rapidly changing and volatile medium (even more volatile than nitrate or CRI, if you can imagine).

 

[24fpssean]

Film won't go away entirely, it will become a specialized medium. The one thing about film is that it doesn't lie. You shoot and image and that's what the negative holds. Digital can be manipulated and can therefore lie. A DI is different from ONeg.

 

[Robert Harris]

Quote:

Originally Posted by 24fpssean

Film won't go away entirely, it will become a specialized medium. The one thing about film is that it doesn't lie. You shoot and image and that's what the negative holds. Digital can be manipulated and can therefore lie. A DI is different from ONeg.

Few will care. A DCP can be downloaded or shipped inexpensively, and the drives can be re-used.

 

There isn't much of a place in this world for film.

 

It will be gone before we know it.

 

RAH

 

[Gordon McMurphy]

 

Originally Posted by Robert Harris

Quote:


Few will care. A DCP can be downloaded or shipped inexpensively, and the drives can be re-used.

 

There isn't much of a place in this world for film.

 

It will be gone before we know it.

 

RAH

 

What are the implications of this new paradigm for film restoration? Could knowledge of how to properly handle vintage 16, 35, 65 and 70mm film elements of various types eventually be forgotten?
 

 

[Robert Harris]

Quote:

Originally Posted by Gordon McMurphy

What are the implications of this new paradigm for film restoration? Could knowledge of how to properly handle vintage 16, 35, 65 and 70mm film elements of various types eventually be forgotten?

 

True restorations, going back to film, are occurring less and less, partially one might presume because of the economy.
In some cases work being performed is in the "good enough" category, enabling what is most important -- an HD master.

 

As costs continue to go down in the digital scanning area, we'll hopefully see more work being performed to a proper end result.

 

But as we lose film, certain parts of the decision making process will be dropped in favor of digital, which may lead

work in the wrong direction.

 

RAH

 

[ahollis]

 

Originally Posted by Gordon McMurphy


 

 

What are the implications of this new paradigm for film restoration? Could knowledge of how to properly handle vintage 16, 35, 65 and 70mm film elements of various types eventually be forgotten?
 

There is a theatre (18 screens) in Chicago that I was consulting with that opened three years ago all digital, but they had one 35mm set up in smaller auditorium in addition to the digital for any print that was not available in digital (Sony Classics, etc.). They ran for over a year without a 35mm print and when one was booked, only one out six managers and four booth personnel, 10 total, knew how to make it up for platter presentation. There was also a class given on how to thread and operate the 35 projector. While all this was going on, I saw the future and it did not include 35mm or any film stock. Pity.