In this Future of Film talk from April 26, Andrew Weissman (Union Square Ventures) and Jason Hirschhorn (Media ReDEFined) discuss the multitude of innovative tools available to filmmakers in this brave new (internet and social) world.
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Is digital the new Botox? The noted indie actress/screenwriter talks about processing her next movie—shot on the Canon 5D—so it looks like Woody Allen’s “Manhattan.”
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Mike Leigh’s longtime cinematographer Dick Pope (he also shot Linklater’s “Bernie”) talks about why he prefers his cinema without tricks. Is 3-D just a fad? Check out the entire Side Swipes archive of deleted clips from “Side By Side.”
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In this clip from our Side Swipes series, pioneering director James Cameron explains that even babies know 2-D images are not “real.” 3-D, however… that’s another story.
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Cinematographer Michael Ballhaus (“The Departed,” “Goodfellas”) worries that emotional images, once strictly captured on film, will not have the same effect digitally. Do you agree?
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In today’s Side Swipes clip from “Side by Side, ” cinematographer Donald McAlpine (“Moulin Rouge,” “Predator”) discusses the ever-evolving nature of the moviemaking process. In of world where digital is becoming more and more common, is film too wasteful a medium to last?
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David Fincher ("The Social Network," "Fight Club") discusses the responsibility of the director to create an environment that allows audiences to look from the inside out, never from the outside in.
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In today's outtake from Side by Side, Robert Rodriguez ( "Machete," "Sin City") recounts a very special visit to Skywalker Ranch, which involved giving a presentation to Steven Spielberg, Martin Scorsese, Oliver Stone and other renowned directors on the advantages of digital filmmaking.
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Side Swipes is a daily video series featuring clips from “Side By Side” that didn‘t make the final cut. Reed Morano, the cinematographer behind “Frozen River,” and “For Ellen,” paints a hopeful future for budding DPs who still want to shoot on film. It may just be as simple as putting on your “producer’s” hat.
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Acclaimed cinematographer Ellen Kuras (“Summer of Sam,” “Eternal Sunshine of the Spotless Mind”) wonders: in a world with the ever-changing formats of digital production, how will filmmakers preserve their work?
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