We're pretty sure Arri doesn't need any help from us to sell their popular Alexa cameras, but we found this clip from an Arri-staged event at IBC 2012 that features Roger Deakins, the award-winning Chief Cinematographer on Skyfall.
Phil Rhodes takes a look at some of the innovative technology that lay behind Pathé’s 9.5mm film format and the Pathé Baby projector, the Netflix of the 1920s.
Can film in the UK make a comeback? Cinelabs International certainly seem to think so, as they have just acquired Bucks Media Services which is one of the few small film labs left in the UK
You may think we're hammering it a bit with the Sony F65, what with our piece on Belle, and with our forthcoming article on what differentiates the F65 from the F55, but let's be clear about this: we are actually at the point where you can make better films with video than you ever could with celluloid - and that's worth a significant amount of coverage
(This was an incredibly popular article when we ran it originally this year. In case you missed it, here's another chance to read it). It just won’t go away, will it? However much you can prove with specifications that digital video is indisputably better than film, there’s a stubborn feeling that there’s more to it than the simple-to-prove facts. We think we've identified one, subtle, process that helps film to store more visible information than digital.
"...it's perhaps surprising that the Super-8 film format is still – in what we might have expected to be the twilight of its years – quite popular. The popularity of retro-styled web imaging services like Instagram is another instance of what I suspect may be the same trend, and goes some way toward confirming the suspicion that distressed images are now just as fashionable as distressed jeans"