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Pocket A landmark use of deep focus in film: The young Charles Foster Kane—in the background, but still in focus—is sent away by his poor parents in Colorado to live with a wealthy banker in New York. Part two runs tomorrow; part three runs on Friday. Cinema is a blend of art and technology, working together to capture light, one frame at a time, to create the illusion of motion.
For years and more, while the technique and style of cinema evolved and varied immensely, its underlying scientific and technological basis remained virtually unchanged: the seductive dating matrix bullet on tv of the film image, the whir of the projector, the organic flow of light into the camera and onto the screen. But over the course of the last decade, filmmaking has undergone a technical revolution.
Most Hollywood movies, and for that matter, most movies made anywhere in the world, are no longer shot on photographic film, but made with digital cameras and recorded as bytes and pixels, ones and zeroes, through a process that appears transparent but some filmmakers find distressingly mysterious.
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Indeed, most commercial mainstream cinema is now a digital process from beginning to end, from the set to the editing suite to the projection booth at your neighborhood multiplex. What you see on the screen is no longer a light bulb shining through a strip of 35mm film, but the output of a concatenation of files called a Digital Cinema Package, or DCP, delivered to the theater on a hard drive or securely downloaded from the Internet.
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Great artists would still produce great work, of course. Many filmmakers and cinematographers, the hands-on visionaries of light, have embraced the ease, crispness, and immediacy of digital media as a technological and artistic great leap forward, while others believe that a craft that had reached a highly attuned level of precision over the last few decades is being jettisoned in the name of needless novelty.
Hours or days later, the exposed film would be developed in a lab, yielding generally speaking a negative from which a positive print could be struck. Only then could the filmmakers see the results.
Given the expense of mounting professional film productions, and the difficulty or impossibility of correcting mistakes once the film had been shot, the cinematographer assumed an almost priest-like significance. He or she—and it was almost always a he—relied on both quasi-objective standards like light-meter readings and subjective criteria of judgment.
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