By Brandon Gordon
One of the greatest transitions in film has occurred within the last twenty years, and it happened with very few people noticing. Almost all multiplex movie theaters use some form of digital projection system and have for several years now. Gone are the years of celluloid film being screen for a wide audience. At the turn of the century many film productions began the transition to digital cameras over film. This meant hard drives and memory cards instead of film canisters needing development. About twenty years ago filmmakers realized the usefulness of filming using digital cameras. There was no longer a need to buy and carry film that would only see one use. Instead, a card that could be cleared and used over and over again took its place. This was the birth of the digital age in film.
There are always bumps in the beginning, for anything. This was certainly the case for film. There was much trial and error before filmmakers became comfortable using the new digital technology to their advantage. It wasn’t until the string of success with low budget features hitting it big at the box office when many production companies realized they could cut costs while retaining the same quality from film. There were, however, some who disagreed. Filmmakers like Christopher Nolan, Quentin Tarantino and Terrance Malick pushed back against switching to digital. Shooting on film can offer something for directors and cinematographers that digital do not. Either it’s a cleaner image or crisper colors, but many argue that there is a discipline that comes with film, one they prefer to have over working with digital cameras. That discipline is the care and caution that comes from using film. Making sure the exposure on the film is perfect because you only get one chance is a fantastic motivator to give each shot your best effort. That does not mean film has an advantage over digital. Many cinematographers still prefer to shoot digitally due to the security and sensibility of doing so. As long as you have a battery and a memory card you can film on a digital camera. Then it is simple to transfer your files charge your batteries and be ready for another day on set. Digital can be an effective choice and in the early 2000’s many young filmmakers made it theirs. It started with indie and horror films. The Blair Witch Project (Myrick, Sanchez, 1999) was the first digital film to break box office records when it grossed over $140 million on a budget of less than $65,000. After this, almost every horror film began to shoot on digital cameras, and many more quickly followed.
There are always bumps in the beginning, for anything. This was certainly the case for film. There was much trial and error before filmmakers became comfortable using the new digital technology to their advantage. It wasn’t until the string of success with low budget features hitting it big at the box office when many production companies realized they could cut costs while retaining the same quality from film. There were, however, some who disagreed. Filmmakers like Christopher Nolan, Quentin Tarantino and Terrance Malick pushed back against switching to digital. Shooting on film can offer something for directors and cinematographers that digital do not. Either it’s a cleaner image or crisper colors, but many argue that there is a discipline that comes with film, one they prefer to have over working with digital cameras. That discipline is the care and caution that comes from using film. Making sure the exposure on the film is perfect because you only get one chance is a fantastic motivator to give each shot your best effort. That does not mean film has an advantage over digital. Many cinematographers still prefer to shoot digitally due to the security and sensibility of doing so. As long as you have a battery and a memory card you can film on a digital camera. Then it is simple to transfer your files charge your batteries and be ready for another day on set. Digital can be an effective choice and in the early 2000’s many young filmmakers made it theirs. It started with indie and horror films. The Blair Witch Project (Myrick, Sanchez, 1999) was the first digital film to break box office records when it grossed over $140 million on a budget of less than $65,000. After this, almost every horror film began to shoot on digital cameras, and many more quickly followed.
Quentin Tarantino shot Hateful Eight using 65mm Film for projection in Ultra Panavision.
This is not to say that there is a clear winner or loser in the Film vs. Digital debate. Both mediums still have their weaknesses and their strengths. In the end what it really comes down to - and has since the beginning - is preference. The preference of the filmmakers as well as the budget they are working with ultimately dictates how they film. It is hard to deny the greatness of digital cameras when also looking at the accessibility to young up and coming filmmakers. Many now get their start shooting films digitally. A whole generation of great filmmakers is being born from the digital revolution.
There is no winner or looser, one is not better than the other. At the end of the day, though, when you go to the theater to see a movie, more often than not it will be shown on a digital projector. We live in a digital age and the future holds great progress that is still to be made.
There is no winner or looser, one is not better than the other. At the end of the day, though, when you go to the theater to see a movie, more often than not it will be shown on a digital projector. We live in a digital age and the future holds great progress that is still to be made.
