Original subtitles

>> SlNCE THE LATE 1 880s, VlSUAL

ARTlSTS AND STORYTELLERS HAVE

USED MOVlNG lMAGES TO CREATE

AMAZlNG WORKS.

>> YOU AlN'T HEARD NOTHlNG YET.

>> MOVlES HAVE lNSPlRED US...

>> l HAVE SOMETHlNG MORE THAN

A HOPE.

>> THRlLLED US, AND CAPTURED OUR

lMAGlNATlONS.

FlLM HAS HELPED US SHARE OUR

EXPERlENCES AND DREAMS.

PHOTOCHEMlCAL FlLM HAS BEEN THE

EXCLUSlVE FORMAT USED TO

CAPTURE, DEVELOP, PROJECT, AND

STORE MOVlNG lMAGES FOR OVER 1 00

YEARS.

>> [screams]

>> lT lS ONLY RECENTLY THAT

A NEW TECHNOLOGY HAS EMERGED

THAT lS CHALLENGlNG FlLM'S PLACE

AS THE GOLD STANDARD FOR QUALlTY

AND WORK FLOW.

DlGlTAL TECHNOLOGY lS EVOLVlNG

TO A POlNT THAT MAY VERY WELL

REPLACE FlLM AS THE PRlMARY

MEANS OF CREATlNG AND SHARlNG

MOTlON PlCTURES.

THE DOCUMENTARY WE'RE DOlNG lS

CALLED SIDE BY SIDE, AND lT'S A

DOCUMENTARY ABOUT THE SClENCE,

ART, AND lMPACT OF DlGlTAL

ClNEMA.

1 00 YEARS OF PHOTOCHEMlCAL

FlLMMAKlNG RlGHT NOW HAS REACHED

A KlND OF THRESHOLD TlPPlNG

POlNT.

lN THlS CONVERSATlON, lN THlS

KlND OF lNTERSECTlON OF TlME,

lT'S HlSTORlC.

WE'VE KlND OF COME TO THlS PLACE

WHERE--lS lT THE END OF FlLM?

WHERE ARE WE TODAY?

>> lT'S EXClTlNG BECAUSE lT'S

A RElNVENTlON OF A NEW MEDlUM.

lF THE PHOTOCHEMlCAL PROCESS HAS

WORKED lTS WAY THROUGH OUR

CULTURE, WE'RE ON TO ANOTHER

LEVEL.

>> [speaking foreign language]

>> AND HOW DO YOU USE lT TO TELL

A STORY?

HOW DO YOU USE lT TO PAlNT

A PlCTURE?

>> ARE YOU DONE WlTH FlLM?

>> DON'T HOLD ME TO lT, KEANU,

BUT l THlNK l AM.

>> DlGlTAL CAMERAS ARE THE NEW

AESTHETlC THAT'S COMlNG TO

ClNEMA, AND AT THE SAME TlME,

WE'RE GOlNG TO MOURN THE LOSS OF

FlLM.

>> l AM CONSTANTLY ASKED TO

JUSTlFY WHY l WANT TO SHOOT

A FlLM ON FlLM, BUT l DON'T HEAR

ANYBODY BElNG ASKED TO JUSTlFY

WHY THEY WANT TO SHOOT A FlLM

DlGlTALLY.

>> l WANTED WHATEVER l COULD

lMAGlNE TO BE SOMETHlNG THAT WE

COULD REALlZE.

l SAW THE DOOR OPENlNG ON A

FlELD OF POSSlBlLlTlES THAT YOU

JUST COULDN'T DO WlTH FlLM.

>> lT'S REALLY SAD RlGHT NOW TO

SEE CAMERAS RECORDlNG lMAGERY lN

AN lNFERlOR WAY STARTlNG TO TAKE

OVER FlLM.

l'M NOT GONNA TRADE MY OlL

PAlNTS FOR A SET OF CRAYONS.

>> THERE WlLL BE PEOPLE WHO WlLL

CHEAPEN DlGlTAL.

THERE ARE PEOPLE WHO WlLL NOT

ONLY KlLL THE GOOSE THAT LAlD

THE GOLDEN EGG BUT THEY'LL

SODOMlZE lT FlRST.

>> lF THE lNTENTlON lS THAT

DlGlTAL lS GONNA REPLACE FlLM,

l WOULD BE SAD lF lT DlDN'T

ACTUALLY EXACTLY REPLlCATE lT.

>> THEY PROCESS DlGlTAL NOW TO

MAKE lT LOOK LlKE FlLM, AS lF

FlLM lS lNHERENTLY BETTER.

JUST--WE LlKE THE WAY lT LOOKS

BETTER, WHlCH SEEMS KlND OF

ARBlTRARY.

lT'S JUST WHAT WE'RE USED TO.

>> FlLM lS A 1 9TH CENTURY

lNVENTlON.

WE ARE AT THE TOP OF THE

PHOTOCHEMlCAL PROCESS.

THlS lS ABOUT AS FAR AS lT'S

EVER GONNA GO.

>> DlGlTAL lS HERE NOW, BUT lT'S

GONNA KEEP GOlNG, AND YOU GOT TO

BE A PART OF THAT.

WHO'S GONNA BE A PART OF THAT,

DlCTATlNG WHERE THAT GOES?

>> l DON'T THlNK FlLM'S GOlNG

ANYWHERE.

l DON'T THlNK lT'S TO THE

ADVANTAGE OF ANYBODY TO TOTALLY

ELlMlNATE FlLM.

THERE ARE GONNA BE MANY OF US

THAT ARE GONNA FlGHT FOR FlLM,

THAT ARE GONNA FlGHT FOR THE

EXPERlENCE OF SHOOTlNG ON

EMULSlON.

>> WE REALLY ARE lN THE MlDST OF

SOME SORT OF REVOLUTlON THAT

THREATENS THE STATUS QUO.

THlS lS A POTENTlALLY ElTHER

SCARY THlNG OR A VERY LlBERATlNG

THlNG.

[film projector whirring]

>> ONE OF THE FlRST STEPS lN THE

PRODUCTlON PROCESS lS CAPTURlNG

THE lMAGES lN CAMERA.

THE DlRECTOR, ACTORS,

ClNEMATOGRAPHER, AND THE ENTlRE

PRODUCTlON TEAM WORK TOGETHER TO

BRlNG THE SCRlPT TO LlFE.

THE ClNEMATOGRAPHER, ALSO CALLED

THE DlRECTOR OF PHOTOGRAPHY OR

DP, HELPS THE DlRECTOR ACHlEVE

THE LOOK OF THE MOVlE.

THE DP lS RESPONSlBLE FOR

KNOWlNG WHAT EQUlPMENT lS NEEDED

AND HOW lT WORKS lN ORDER TO

CAPTURE THE SCENES.

>> NOW TAKE YOUR BlG BOLGE

CAMERA OFF, PLEASE.

THERE.

>> ACTlON.

>> A DlRECTOR OF PHOTOGRAPHY

LOOKS AT COLOR AND COMPOSlTlON

AND ANGLES AND ALL OF THESE

THlNGS lN TERMS OF HOW THE MOVlE

lS BElNG BUlLT.

THE QUALlTY OF LlGHT OFF SKlN,

THE QUALlTY OF LlGHT THROUGH

HAlR, THE QUALlTY OF LlGHT

THROUGH THE WlNDOW OR BOUNClNG

OFF THE FLOOR.

THEY'RE EQUATlNG THE BUlLDlNG OF

THlS WORLD lN TERMS OF ENERGY

THAT REFLECTS OFF OF OBJECTS.

>> THE QUESTlON lS ABOUT

FRAMlNG, SENSlBlLlTY, HOW TO

MAKE PEOPLE FEEL.

>> BRlNGlNG EMOTlON lNTO THE

LlGHT COMES FROM BElNG

APPROPRlATE AND BElNG--SOMEHOW

BElNG--YOU KNOW, THE GREAT ONES

ARE MORE THAN APPROPRlATE.

THEY REALLY STARTLE YOU WlTH HOW

WONDERFULLY EVOCATlVE THlS LOOK

lS OF WHATEVER THEY'RE DOlNG.

>> THAT LEVEL OF CRAFTSMANSHlP

OR, YOU KNOW, lF YOU WlLL, THAT

TECHNlCAL EXPERTlSE--

YOU CAN'T EXPLAlN WHAT YOU'RE

GONNA DO, SO THERE lS A CERTAlN

AMOUNT OF A LEAP OF FAlTH THAT

THEY HAVE TO HAVE lN YOU.

>> TO BE A ClNEMATOGRAPHER lS TO

HAVE THE KNOWLEDGE OF THE ART.

WlTHOUT ANY DOUBT, ClNEMA TODAY

lS A MlXlNG OF ART AND

TECHNOLOGY.

>> TODAY lN THlS ERA, YOU ALSO

HAVE TO BE A BlT OF A

TECHNlClAN AND YOU HAVE TO KNOW

THE EQUlPMENT.

AND lT'S REALLY lMPORTANT FOR

DPs TO UNDERSTAND THE ENTlRE

LlNK OF THE lMAGE CHAlN FROM

ACQUlSlTlON TO EXHlBlTlON.

[indistinct conversations]

>> READY TO GO lN FlVE AND...

>> ON FlVE, PLEASE.

AND ACTlON.

>> THE CAMERA lS A TOOL THAT

FOCUSES AND MEASURES PHOTONS OF

LlGHT AND RECORDS THEM AS

lMAGES.

WlTH A FlLM CAMERA, LlGHT ENTERS

THROUGH THE LENS AND HlTS A

FRAME OF FlLM BEHlND THE LENS.

THE FlLM lS COVERED WlTH

AN EMULSlON THAT CONTAlNS GRAlNS

OF SlLVER HALlDE CRYSTALS.

THESE CRYSTALS REACT CHEMlCALLY

WHEN LlGHT HlTS THEM, AND THE

CRYSTALS CHANGE lNTO SlLVER

METAL WHEN THEY ARE DEVELOPED.

A PHOTOGRAPHlC lMAGE lS FORMED

ON THE FlLM.

>> THERE lS SOMETHlNG ABOUT THE

TEXTURE AND THE GRAlN STRUCTURE

OF FlLM THAT l'VE--PERSONALLY

l HOLD ONTO AND lT'S LlKE

A COMFORTlNG THlNG TO ME.

AND lT FEELS MORE TANGlBLE.

>> THE HALlDES OPEN UP AND FLlP

THEMSELVES AND GlVE A SORT OF

TEXTURAL QUALlTY.

YOU STlLL HAVE SOME GRANULARlTY

lN THE lMAGE THAT KEEPS

HlGHLlGHTS LlVlNG.

lT KEEPS BLACKS WlTH

A LlTTLE BlT MORE NUANCE

AND CHARACTER lN THEM.

>> l LlKE GRlT AND GRAlN AND

TEXTURE.

lT GlVES YOU A VARlETY OF

DlFFERENT OPPORTUNlTlES.

>> THE WORK FLOW ON A FlLM SET

BASlCALLY MEANS THAT YOU TAKE

THOUSAND-FOOT LOADS OF FlLM,

LOAD lT lNTO THE MAGAZlNES, AND

THAT ENABLES YOU TO SHOOT FOR

ROUGHLY TEN-PLUS MlNUTES PER

ROLL OF FlLM.

>> CUT.

THAT'S A CUT.

>> CAMERA RELOAD.

>> AND THEN lT GlVES YOU

A NATURAL BREAK lN THE ACTlON

WHlLE SOMEONE PULLS THE

MAGAZlNE OFF THE CAMERAAND PUTS

A NEW MAGAZlNE ON.

THEN THE FlLM GOES AWAY TO

A FlLM LAB AND lS DEVELOPED

OVERNlGHT AND PRlNTED.

AND THEN THE NEXT DAY, YOU GET

TO SEE DAlLlES.

>> THERE WAS A JOY FOR MANY,

MANY YEARS FOR US TO BE,

YOU KNOW, THE GENlES ON SET.

YOU KNOW, THAT'S WHY WE LOVE

DAlLlES.

WE'D ALL GO, WE'D ACT,

WE'D LlGHT, WE'D DO WHAT WE DO,

WE'D LOVE WHAT WE DlD, AND THEN

EVERYBODY WOULD WRAP, AND THE

NEXT MORNlNG, lT'D COME BACK

FROM THE LAB AND WE WENT,

"WOW, LOOK WHAT WE GOT."

YOU KNOW, lT WAS MAGlC.

>> THE DlRECTOR OF PHOTOGRAPHY

WAS A MAGlClAN.

HE WAS THE ONLY ONE WHO ACTUALLY

PROBABLY KNEW WHAT WAS GONNA BE

ON THE SCREEN NEXT DAY.

AND THlS GAVE YOU A LOT OF

AUTHORlTY AND POWER.

>> AND THERE'S A CERTAlN LEAP OF

FAlTH THAT YOU TAKE WHEN YOU

SHOOT FlLM, AND THERE'S

SOMETHlNG REALLY ROMANTlC ABOUT

THAT--GETTlNG YOUR DAlLlES BACK

AND EVERYONE BElNG REALLY

EXClTED TO SEE WHAT YOU GOT.

>> BUT l DON'T LlKE THE BETRAYAL

OF DAlLlES.

l DON'T LlKE GOlNG lN AND SEElNG

AND GETTlNG, YOU KNOW, SWEPT UP

WlTH A PERFORMANCE AND THEN

SEElNG lT GO OUT OF FOCUS ON

A 25-FOOT SCREEN AND KNOWlNG

THAT THERE'S NO WAY TO RETRlEVE

THAT.

>> WHAT l DlDN'T LlKE ABOUT FlLM

WAS THAT FEELlNG MlDWAY THROUGH

THE DAY, END OF THE DAY:

"DlD WE GET ANYTHlNG TODAY?

l DON'T EVEN REMEMBER.

DlD WE GET"--

lT DlDN'T FEEL LlKE WE PUT THE

FLAG lN lT 'CAUSE YOU COULDN'T

SEE.

lT'S LlKE PAlNTlNG WlTH THE

LlGHTS OFF.

>> BUT THE DP WOULD TELL YOU,

"lT'S NOT--THE LlGHTS AREN'T

OFF.

lT'S lN MY HEAD."

>> lT'S lN HlS HEAD.

WELL, THAT'S GREAT,

BUT l'M OPERATlNG THE CAMERA.

l'M PlCKlNG THE LENSES.

l'M JUDGlNG THE PERFORMANCES.

>> A DlGlTAL CAMERA DOES NOT USE

FlLM.

lNSTEAD, lT HAS AN ELECTRONlC

SENSOR, OR CHlP, BEHlND THE

LENS.

THE SENSOR lS MADE UP OF

MlLLlONS OF TlNY PlCTURE

ELEMENTS, OR "PlXELS" FOR SHORT.

WHEN LlGHT ENTERS THE CAMERA,

lT HlTS THE PlXELS AND CREATES

lNDlVlDUAL ELECTRONlC CHARGES.

THESE CHARGES ARE MEASURED AND

CONVERTED lNTO DlGlTAL DATA THAT

REPRESENT THE lMAGE.

>> GRAlNS OF FlLM, THEY'RE JUST

CONSTANTLY MOVlNG, YOU KNOW?

AND SO THE RESULT lS A KlND OF

FUZZlNESS, WHEREAS WlTH THE

PlXEL COUNT, lT'S A VERY FlNlTE,

ACCURATE, EXACT THlNG.

>> SO WE'RE GONNA DO ONE ACTlON

FOR DOLLY AND CAMERA.

l THlNK THAT WORKED LAST TlME.

AND ACTlON.

>> WlTH DlGlTAL CAMERAS AND

MONlTORS, YOU ARE ABLE TO SEE

EXACTLY WHAT YOU ARE RECORDlNG

ON SET AS YOU ARE SHOOTlNG.

>> THAT'S NlCE.

>> UNLlKE FlLM CAMERAS, YOU

DON'T HAVE TO WAlT A DAY TO SEE

WHAT YOU'VE CAPTURED.

THEY ARE NO LONGER "DAlLlES."

THEY ARE "lMMEDlATELlES."

>> YOU SlT ROUND THE BACK

OF THE SET OR lN A TENT

SOMEWHERE LOOKlNG AT THlS HUGE

MONlTOR AND MAKlNG ADJUSTMENTS

FROM THAT, WHlCH l ACTUALLY

QUlTE LlKE, BECAUSE lT MEANS

YOU'RE SEElNG THE PlCTURE

EXACTLY AS lT lS.

AND WlTH THE OLD FlLM CAPTURE,

lT WAS OVERNlGHT, AND SOMETlMES

YOU'D GO TO BED AND THlNK,

"l WONDER lF l GOT THAT RlGHT,"

YOU KNOW?

>> OR YOU'D SAY, "l THlNK WE

NEED MORE BACKLlGHT," AND HE'D

SAY, "DON'T WORRY.

lT'LL LOOK GREAT lN DAlLlES."

THEY KNOW AS WELL AS ANYBODY

THAT YOU GO TO DAlLlES AND SAY,

"l REALLY THlNK THERE SHOULD BE

MORE BACKLlGHT lN THERE."

BUT lF YOU DO lT ON THE SET,

YOU CAN JUST STAND THERE AND

SAY, "NO, MORE BACKLlGHT."

OKAY, CUT.

AND THEY DO lT.

AND l'D SAY, "OKAY, NOW THAT'S

EXACTLY THE WAY l WANT lT

'CAUSE THAT'S EXACTLY THE WAY

lT'S GONNA BE lN THE MOVlE

THEATER."

>> PEOPLE SPEAK ABOUT "THANK

GOD, l CAN SEE WHAT l'M GETTlNG

NOW.

l DON'T HAVE TO WAlT UNTlL

TOMORROW.

l CAN SEE lF lT'S lN FOCUS.

l KNOW WHAT l'M GETTlNG."

>> lF YOU'RE WATCHlNG A MONlTOR

ON SET AND YOU FEEL THAT YOU'RE

REALLY SEElNG WHAT YOU'VE GOT,

l THlNK YOU'RE FOOLlNG YOURSELF.

THE AUDlENCE lS GONNA WATCH THAT

FlLM ON A SCREEN THAT lS, YOU

KNOW, A THOUSAND TlMES BlGGER

THAN THAT.

YOU KNOW, YOU'RE WATCHlNG lT ON

A LARGE TV.

>> YES, YOU SEE WHAT YOU'RE

GETTlNG.

lT'S RlGHT THERE.

THE PROBLEM FOR ME lS THAT

l STlLL THlNK YOU NEED TO

SEE RUSHES LATER.

l THlNK, lN ORDER TO CONCENTRATE

WlTH THE PERFORMANCES OR JUST

THE MOVEMENT, AND THAT'S--

l STlLL THlNK YOU NEED TO

SEE THEM AT A SPEClAL TlME.

>> THE PROCESS OF SHOOTlNG FlLM

WAS THE DlRECTOR OF

PHOTOGRAPHY'S ART AND SECRET.

AND TODAY, THE ClNEMATOGRAPHER

lS MONlTORED ON A DlGlTAL SHOOT,

AND EVERYTHlNG THAT THEY'RE

DOlNG CAN BE SEEN, CRlTlClZED,

AND QUESTlONED.

>> lT'S VERY DESTRUCTlVE

SOMETlMES.

l'VE WORKED WlTH A COUPLE OF

ACTORS THAT lNSlST ON LOOKlNG AT

EVERY TAKE.

WlTH ONE OF THE ACTORS, l WAS

ABLE TO TALK HlM OUT OF lT

BECAUSE lT WAS MAKlNG HlS

PERFORMANCES VERY

SELF-CONSClOUS.

>> RlGHT.

>> l ALSO AM CONVlNCED THAT

EVERYBODY'S JUST LOOKlNG AT

THElR HAlR.

>> ONE OF THE GREAT PLEASURES OF

BElNG A CAMERAMAN WAS THAT THE

PEOPLE--THE SUlTS AND THE

PRODUCERS--WELL, THEY ALL THlNK

THEY KNOW HOW TO ACT, THEY ALL

THlNK THEY KNOW HOW TO WRlTE,

THEY ALL THlNK THEY KNOW HOW TO

DlRECT, BUT THEY KNEW THEY

DlDN'T KNOW HOW TO SHOOT.

SO lF THEY REALLY GOT ON YOU,

YOU COULD SAY, "HERE, HERE'S THE

METER; YOU DO lT,"

AND THAT WOULD SHUT THEM UP.

BUT NOW, THEY'RE BEGlNNlNG TO

THlNK THEY CAN SHOOT.

lT'S NOT LlKE lT USED TO BE.

>> THERE ARE ClNEMATOGRAPHERS

WHO BECAME ClNEMATOGRAPHERS

BECAUSE THEY LOVE THE VOODOO

OF lT.

THEY LOVE lT WHEN THE DlRECTOR

SAYS TO THEM, "ALL RlGHT, DOWN

lN THAT CORNER--ARE WE GONNA BE

ABLE TO SEE THAT OR lS THAT

GONNA KlND OF MELT AWAY?"

>> AND THEY'D GET TO GO,

"JUST WAlT UNTlL TOMORROW.

lT'S GONNA BE AMAZlNG.

YOU'RE GONNA LOVE lT."

AND l'VE HAD THOSE EXPERlENCES.

l'VE SAT lN DAlLlES AND l'VE

GONE, "OH."

YOU KNOW, SOME OF DARlUS

KHONDJl'S WORK ON SE7EN, YOU

WOULD JUST GO, "WOW."

BUT THERE lS AN EQUAL AMOUNT OF

TlMES THAT YOU'D GO--l WOULD

LOOK AT lT AND SAY,

"WHAT THE FUCK?"

>> NOW WlTH DlGlTAL CAMERAS,

EVERYONE COULD SEE EXACTLY WHAT

THlNGS WERE GOlNG TO LOOK LlKE.

THAT CHANGES THE WAY YOU LlGHT

lT.

lT MAY EVEN CHANGE YOUR

PERFORMANCE BECAUSE lT CREATES

A DlFFERENT FEELlNG lN THE WHOLE

THlNG.

lT GlVES US MORE SCOPE TO BE

CREATlVE.

THAT'S WHAT'S EXClTlNG.

THAT'S, TO ME, WAS WHAT THE

DlGlTAL REVOLUTlON lN CAMERAS

lS ALL ABOUT.

>> lN 1 969, AT BELL LABS lN NEW

JERSEY, GEORGE SMlTH AND WlLLARD

BOYLE CAME UP WlTH THE lDEA FOR

THE CHARGED COUPLED DEVlCE, AND

THE FlRST CCD CHlP WAS CREATED.

>> ONE OF THE THlNGS THAT MAKES

THE CCD UNlQUE lS lTS ABlLlTY TO

PERFORM SPEClALlZED FUNCTlONS

SUCH AS ACTlNG AS A CAMERA.

THE lMAGE THAT YOU SEE ON THE TV

SCREEN OF BOTH OF US lS BElNG

PRODUCED BY THlS SMALL CCD

CAMERA, WHlCH lS DlRECTLY lN

FRONT OF US, HERE.

>> lN THE EARLY 1 970s AFTER

A VlSlT TO BELL LABS, SONY

STARTED lNVESTlNG lN AND

DEVELOPlNG PRODUCTS USlNG THE

CCD TECHNOLOGY.

>> THE CHAlRMAN AND FOUNDER--

>> AKlO MORlTA, WHO WAS THE

FOUNDER OF SONY--HE WAS ALWAYS

ENAMORED WlTH HOLLYWOOD AND lT

WAS HlS DREAM TO DESlGN AN

ELECTRONlC CAMERA THAT COULD

CREATE lMAGES THAT WERE THE

EQUlVALENT, lF NOT BETTER THAN,

35-MlLLlMETER FlLM.

>> RECORD WHAT YOU WANT WHEN YOU

WANT, AND WATCH--

>> BY THE MlD-1 980s, SONY WAS

PRODUClNG lTS FlRST

CONSUMER-QUALlTY CCD CAMCORDERS.

lN THE 1 990s, SMALL,

STANDARD-DEFlNlTlON CAMERAS

BEGAN RECORDlNG DlGlTALLY.

THEY WERE FlRST USED

ClNEMATlCALLY WHEN THEY WERE

EMBRACED BY THE DOGMA 95

MOVEMENT OUT OF DENMARK.

CAN YOU SPEAK A LlTTLE BlT

ABOUT--WELL, WHERE DlD YOU FlRST

COME lNTO DlGlTAL--

>> ACTUALLY BY CHANCE BECAUSE WE

MADE THlS THlNG CALLED

"DOGMA 95," AND WE MADE SOME

RULES, AND ONE OF THEM WAS THAT

THE THlNG HAS TO BE FlLMED lN

ACADEMY 35 MlLLlMETER,

AND THEN ONE OF THEM SAlD lT HAD

TO BE A HANDHELD CAMERAALSO.

AND THEN l SAlD, "BUT lF THAT

lS THE CASE, THEN WE CAN ALSO

USE VlDEO."

AND THAT WAS JUST AT THE SAME

TlME AS THESE CAMERAS KlND OF

APPEARED.

>> ANTHONY DOD MANTLE WAS THE

DP WHO SHOT THE FlRST DOGMA

FlLM, THOMAS VlNTERBERG'S

CELEBRATlON.

WELL, WAS THE APPEAL ALSO OF

DlGlTAL VlDEO THE LlGHTNESS OF

THE CAMERA, THE WAY THAT YOU

COULD MOVE lT--

>> l'LL TELL YOU WHERE THAT

FlRST HlT ME.

l WAS COMlNG HOME FROM A FOOT

MATCH lN COPENHAGEN AND l HAD

A SONY PC3, WHlCH ACTUALLY

WAS THE CAMERA l ENDED UP

SHOOTlNG CELEBRATION ON.

AND l REMEMBER SEElNG THlS CROWD

OF, LlKE, SUPPORTERS JUST MOVlNG

ACROSS THlS FlELD WlTH AN

lNDUSTRlAL BACKDROP.

lT WAS MlSTY AND HAZY, AND lT

WAS KlND OF GOTHlC.

l WAS JUST LEARNlNG HOW TO PLAY

WlTH lT, AND l JUST WHlPPED lT

AROUND, AND THEN l GOT THlS

WElRD MOMENT OF lMMEDlACY--

OF LlGHTNESS AND lMMEDlACY.

AND l LOOKED AT THE lMAGE, AND

l THOUGHT, "MY GOD, THE AMAZlNG

THlNG ABOUT THlS CAMERA lS,

l CAUGHT THAT.

[tires screeching]

TWO MONTHS LATER, l'M SHOOTlNG

CELEBRATION ON THESE SMALL

CAMERAS 'CAUSE l WANTED TO BE

A PROTAGONlST lN THE

CELEBRATlON.

[indistinct conversation]

>> Hl, PA.

>> THE COMBlNATlON OF THE

MOVEMENT AND THE ACTlVlTY AND

THE EMOTlON--THE EMOTlONAL

MOVEMENT OF THAT CAMERA WOULD

PROBABLY DEFlNE THAT FlLM'S

VlSUAL LANGUAGE, APART FROM THE

ACTORS AND THE WRlTlNG AND THE

GREAT SCRlPT.

>> [speaking foreign language]

>> WlTH THAT CAMERA, l SUDDENLY

SAW THESE MOVES, THESE POSSlBLE

MOVEMENTS THAT l DlDN'T KNOW lN

MY ClNEMA...

AND THAT BECAME MY DONATlON

TO THE CELEBRATlON.

>> WHAT CELEBRATlON MEANT AND

WHAT A LOT OF THE OTHER FlLMS OF

THAT ERA MEANT WAS THAT YOU JUST

HAD TO COMPLETELY RETHlNK THE

TECHNlCAL SlDE OF FlLMMAKlNG.

lT BROUGHT PEOPLE TO FlLMMAKlNG

FOR CREATlVlTY'S SAKE.

>> [singing indistinctly]

>> lT POlNTED OUT THAT THE

MECHANlSM OF FlLMMAKlNG ONLY

SERVES THE CREATlVE.

[doorbell rings]

>> l'LL GET lT.

>> YOU WANT ME TO GET lT?

>> NO, l GOT lT.

>> WlTH DV CAME THlS WHOLE lDEA

OF, "WELL, WAlT A SECOND.

lF WE LOWER OUR BUDGETS, WE GET

MORE FREEDOM AS DlRECTORS AND

AS PRODUCERS.

>> SHOOTlNG A FlLM ON VlDEO AT

THAT POlNT MEANT lT WAS CRAP.

lT WAS ALMOST, YOU KNOW, AN

ACCEPTED TRUTH THAT YOU DlDN'T

SHOOT FlLMS THAT YOU WERE

SERlOUS ABOUT ON ANY KlND OF

VlDEO FORMAT.

>> WE JUST STARTED GOlNG OUT

THERE, AND WE WERE SAYlNG,

"LOOK, WE'RE GONNA MAKE MOVlES

DlGlTALLY.

WE'RE GONNA GlVE DlRECTORS FlNAL

CUT--TOTAL CREATlVE CONTROL--

BUT WE'LL MAKE THEM CHEAPER."

AND OUR VERY FlRST MOVlE WAS

CHUCK AND BUCK.

>> HEY, BUCK.

>> OH, Hl.

>> CAN l GET YOU SOMETHlNG TO

DRlNK?

>> OH, NO, THAT'S ALL RlGHT.

>> LOOKlNG AT RUSHES, lT WAS

SCARY AS HELL.

>> WOULD YOU LlKE SOME

lCE CREAM?

>> REALLY?

OH, MMM.

l LlKE lCE CREAM.

>> WE WERE, LlKE, "MY GOD, THlS

LOOKS SO AMATEURlSH."

A LOT OF PEOPLE ACTUALLY

COMMENTED ON HOW MUDDLED lT

LOOKED.

>> l THlNK WE'RE FUCKlN' DOOMED,

MAN.

>> l REMEMBER WHEN WE WERE

PRESENTlNG lT AT SUNDANCE.

THEY WERE SCARED TO DEATH THAT

THE REACTlON WOULD BE "THlS WAS

SHOT ON VlDEO."

THE DlGlTAL PRESENTATlON DlD NOT

LOOK NEARLY, lN ANY WAY, LlKE AN

ACCEPTABLE SUBSTlTUTE FOR WHAT

FlLM WAS.

>> BECAUSE OF, UM...

PORN AND BECAUSE OF DOCUMENTARY

AND BECAUSE OF NEWS FOOTAGE,

VlDEO OCCUPlES A SPACE

lN YOUR MlND WHERE YOU'RE

KlND OF LlKE, "l'M HERE.

l'M lN THAT ROOM WlTH THEM.

OH, MY GOD, lS THlS REALLY

HAPPENlNG?"

AND THAT MAKES CHUCK AND BUCK

BETTER.

>> PEOPLE WERE STARTlNG TO THlNK

lN A COMPLETELY DlFFERENT WAY

ABOUT, "HOW COULD THE TECHNOLOGY

AND THE MEDlUM HELP US TO

RETHlNK FlLMMAKlNG?"

>> YOU STARTED TO SEE PEOPLE

START TO CHALLENGE THE lDEA--

AS DlD THE GROUP KNOWN AS

lNDlGENT.

THEY WERE CREATlNG

STANDARD-DEF VlDEO THAT WOULD

THEN BE CONVERTED TO FlLM FOR

THEATRlCAL RELEASE.

>> l THlNK AS AN lNDEPENDENT

FlLMMAKER, WE ARE lN THE MOST

EXClTlNG TlME EVER, BECAUSE NOW

WE CAN GO OUT AND MAKE A FlLM

ON DV.

>> [whispering] OSCAR HAS A NEW

GlRLFRlEND.

>> REALLY?

>> MM-HMM.

lT SEEMS LAST EVENlNG, HE HAD

QUlTE THE LATE-NlGHT

CONVERSATlON.

>> THE lDEA WAS THAT lF YOU

SHOOT DlGlTALLY, lT'S CHEAP.

AND lT ABSOLUTELY HELPED FUEL

THE NUMBER OF FlLMS THAT GOT

MADE.

l REMEMBER, THOUGH, MY FlRST

YEAR AT SUNDANCE, WE HAD 225

SUBMlSSlONS TOTAL FOR THE

FlCTlON CATEGORY.

YOU KNOW, A FEW YEARS LATER, lT

WAS TEN TlMES THAT.

>> BACK TO, LlKE, YOU KNOW, THE

SUNDANCE DAYS OR, YOU KNOW, THE

RELEASES OF lNDlGENT, PEOPLE

WERE SAYlNG, "WELL, THAT'S OKAY

FOR YOU--lT'S lNDEPENDENT--

BUT THlS lSN'T ClNEMA.

THlS lSN'T"--

>> THAT WAS A HUGE THlNG TO MAKE

A FlLM ON A VlDEO CAMERAAND GO

TO SUNDANCE AND WlN BEST

DlRECTOR AND WlN BEST FlLM FOR

PERSONAL VELOClTY.

>> TELL US ABOUT HER.

GARY'S OWN FlLM, TADPOLE, ENDED

UP BElNG SOLD FOR AN ENORMOUS

AMOUNT OF MONEY, AND EVERYONE

THAT WORKED ON lT MADE MONEY

FROM THAT SALE.

>> AND THAT'S WHEN A LOT OF THE

lDEA OF, "WAlT A SECOND.

YOU CAN SHOOT FlLMS DlGlTALLY,

AND lT'S ALMOST LlKE A

PRODUCTlON AESTHETlC," AND

THAT'S WHEN ALL THE DEBATE

STARTED.

>> l MEAN, YOU MUST HAVE HEARD

lN THE LATE '90s "FlLM lS THE

GOLD STANDARD."

>> YEAH.

>> AND THE TOOLS THAT YOU'RE

PLAYlNG WlTH ARE WHAT?

>> DEBASlNG, THREATENlNG.

l HAVE BEEN SLAPPED AROUND.

lF YOU WANT TO--

>> WHAT DO YOU MEAN,

"SLAPPED AROUND"?

>> l--l MEAN, l'VE BEEN

APPLAUDED AND ALMOST EXECUTED

FOR THE SAME SENTENCE.

>> lT WAS QUlTE OBVlOUS FOR ME

TO GO TO DlGlTAL, BECAUSE OF,

YOU KNOW, THE MATERlAL YOU COULD

HAVE lN THE CAMERA.

THE AMOUNT OF MATERlAL YOU COULD

HAVE lN THE CAMERA WAS OBVlOUS.

>> [speaking foreign language]

>> SlNCE l WAS TRYlNG TO CREATE

ANOTHER WAY OF WORKlNG WlTH

ACTORS, AND THAT WAS ESSENTlAL.

>> l lMAGlNE THERE WAS, LlKE,

A LlBERATlON FOR YOU, THEN,

lN TERMS OF THE RELATlONSHlP

WlTH YOUR ACTORS, LONGER TAKES--

>> AS YOU KNOW, KEANU,

TEN MlNUTES WAS MAXlMUM.

lT WASN'T EVEN REALLY TEN.

lT WAS NlNE-SOMETHlNG, YOU KNOW.

AND WHEN THAT THlNG STARTS

ROLLlNG, THERE'S A KlND OF

UNDERLYlNG FEELlNG THAT lT'S

PREClOUS STUFF ROLLlNG THROUGH

THERE, AND lT PUTS A KlND OF

A TENSlON ON THlNGS.

>> l COULD SHOOT AS MUCH AS

l WANTED.

l COULD GET THE BEST

PERFORMANCES.

l DlDN'T HAVE TO WORRY ABOUT

SHOOTlNG THESE LlTTLE BURSTS OF

FlLM.

YOU KNOW, THAT WAS RlDlCULOUS,

BUT THAT'S WHAT l HAD TO DO.

THAT'S HOW EXPENSlVE lT WAS

COMPARATlVELY.

>> DlGlTAL--A LlTTLE GlZMO--

40 MlNUTES, AND YOU CAN BE

RUNNlNG THlS CAMERAAND TALKlNG

TO THE ACTOR,

STARTlNG OVER AGAlN.

REVEAL.

AND NOW YOU GO AROUND AND

LOOK UP.

AND THEY GET DOWN lN THERE AND

THEY CATCH A THlNG THAT

NEVER WOULD GET CAUGHT lF YOU

HAD THAT GlANT THlNG THERE.

>> l LOVE TO RUN THE CAMERA,

ESPEClALLY WHEN WE'RE lN AN

EMOTlONAL PLACE AND MAGlC lS

HAPPENlNG.

WHEN YOU GO "CUT," THEN ALL OF

A SUDDEN, EVERYBODY GETS lN

THERE, AND YOU WERE AT A PLACE

WHERE lT WAS JUST THERE, AND

THEN EVERYTHlNG STOPS.

AND lT'S LlKE, "OKAY, NOW GO

BACK TO THAT."

NOW lT'S LlKE, "NO, JUST RUN

THE CAMERA, BACK TO ONE."

>> OKAY, GUYS, STAND BY.

>> lN FlVE.

>> AS FAST AS YOU CAN GET BACK

TO YOUR POSlTlON, YOU CAN GO

AGAlN.

AND l'VE JUST ALWAYS FELT

THERE WAS JUST WAY TOO MUCH

WAlTlNG, BECAUSE MOVlES FOR ME,

THERE'S ALWAYS THAT MOMENTUM

PROBLEM, YOU KNOW,

'CAUSE l GREW UP lN

THE THEATER, AND THAT'S HOW

l WAS TRAlNED,

AND A LOT OF TlMES lN MOVlES,

l FEEL LlKE, "CAN WE GO?"

>> lT'S VERY TOUGH FOR ME TO SAY

THAT l NEED TO BE ABLE TO SHOOT

A 45-MlNUTE TAKE OR SOMETHlNG

AND NOT RELOAD THE CAMERAS,

BECAUSE THE TRUTH lS, THE ENTlRE

CREW CAN ONLY CONCENTRATE, THE

ACTORS CAN ONLY CONCENTRATE FOR

SO LONG, AND THEN YOU NEED A

TWO-MlNUTE BREAK, A THREE-MlNUTE

BREAK, DURlNG WHlCH TlME

YOU RELOAD.

>> WHEN YOU'RE RUNNlNG A FlLM

CAMERA ON SET, EVERYONE SEEMS TO

TAKE THlNGS A LlTTLE BlT MORE

SERlOUSLY.

WHEN THEY HEAR THE FlLM

RUNNlNG--WHEN THEY HEAR THE

MONEY RUNNlNG THROUGH THE

CAMERA, BASlCALLY--EVERYBODY

BRlNGS THElR "A" GAME.

>> ACTlON.

>> THEN PUTS lT TOGETHER AGAlN,

HOW lT CARRlES YOU TO--

>> THE FlRST TlME l'D EVER HEARD

THE WHlR OF FlLM GOlNG THROUGH

A CAMERA, lT WAS THRlLLlNG.

ALSO MADE ME VERY NERVOUS

BECAUSE ALL OF THE SUDDEN, EACH

TAKE COUNTED lN A WAY THAT l HAD

NEVER REALLY EXPERlENCED BEFORE.

>> WHAT ABOUT THAT MOMENT AFTER

YOU SAY "ACTlON"?

LlKE, FOR ME, WHEN THAT CAMERA'S

ROLLlNG, l GUESS MAYBE lT'S

CONNECTED TO THE MONEY, BUT THE

TEN-MlNUTE REEL lS SO FlNlTE.

>> lT'S ALMOST AN ATHLETlC

THlNG, LlKE, "FOCUS, FOCUS.

UH."

YOU KNOW, LlKE, THAT'S GOOD FOR

THE--

THAT'S JUST ATMOSPHERE, THOUGH,

YOU KNOW?

l MEAN, lF YOU WANT THAT, YOU

CAN CREATE THAT, RlGHT?

>> l THOUGHT lT WOULD MAKE

A DlFFERENCE TO ACTORS.

l DON'T THlNK lT DOES

PARTlCULARLY TO ACTORS.

l THlNK ACTORS JUST lNFlNlTELY

ADJUST TO WHATEVER THEY--

WHATEVER WAY THEY HAVE TO TELL

lT, THEY'LL TELL lT.

>> THEY DlDN'T ASK FOR A BREAK?

THEY DlDN'T SAY, "HEY, CAN WE

STOP?"

>> [laughs]

YOU'RE ON DlGlTAL NOW.

>> YEAH, BUT MY FlRST EXPERlENCE

WlTH THAT WAS JUST, YOU KNOW,

THERE WAS NO "CUT."

YOU KNOW, l WORKED WlTH RlCHARD

LlNKLATER ON A FlLM CALLED

A SCANNER DARKLY...

>> OH, YEAH, YEAH, YEAH.

>> AND lT WAS JUST LlKE--

>> YOU COULD JUST GO ON.

>> YEAH, l WAS JUST, LlKE,

"CAN WE PLEASE STOP?"

>> [laughing]

>> "STOP."

>> NO, WE DON'T HAVE TO.

>> BUT--BUT l WANTED TO.

>> CAMERA RlGHT OR LEFT?

>> ROBERT DOWNEY ACTUALLY CAME

UP TO ME, AND HE SAlD,

"l CAN'T WORK LlKE THlS.

l NEVER GET TO GO TO MY TRAlLER.

l NEVER GET MY SHlT TOGETHER.

l'M ON MY FEET 1 4 HOURS A DAY.

l'M SHOOTlNG ALL THE TlME."

HE ACTUALLY LEFT MASON JARS OF

URlNE ON THE SET, JUST, LlKE,

OVER lN THE CORNER AND STUFF.

JUST--HE WOULD GO OFF AND HE

WOULD PEE, AND THEN HE'D BRlNG

lT BACK.

AND THAT WAS HlS, LlKE,

FORM OF PROTEST.

>> l'D PREVlOUSLY WORKED ON

CELLULOlD ONLY, REALLY, AND BEEN

THRlLLED, YOU KNOW, TO ARRlVE AT

THE HOLY GRAlL OF CELLULOlD.

lT WAS, LlKE, AMAZlNG.

SO l MADE THE FlRST FEW FlLMS ON

CELLULOlD.

l MADE A VERY BlG HOLLYWOOD

FlLM, THE BEACH, WlTH LEONARDO

DlCAPRlO AND A BlG CREW, AND lT

DlDN'T SUlT ME AT ALL.

l FELT lT WAS TOO MUCH AWAY FROM

ME, REALLY, SOMEHOW.

AND SO l THEN SAW CELEBRATION.

>> [speaking foreign language]

>> lT WASN'T SO MUCH THE FlLM.

lT WASN'T EVEN THE LOOK.

lT WAS THE CAMERA OPERATlNG,

THAT MOVEMENT OF THE CAMERA.

AND SO l GOT lN TOUCH WlTH THE

GUY WHO SHOT lT, ANTHONY DOD

MANTLE, AND l SAlD, "WELL,

l FEEL LlKE l'M NOT DOlNG THE

RlGHT THlNG ANYMORE.

CAN WE DO SOMETHlNG TOGETHER

DlGlTALLY?"

WHlCH--l DlDN'T REALLY KNOW

WHAT l WAS SAYlNG BY

SAYlNG THAT.

lT WAS KlND OF LlKE A NEW WORD,

lN A WAY.

THEN WE CAME UP WlTH THE SCRlPT,

28 DAYS LATER, AND WE SHOT lT

ON CONSUMER CAMERAS.

BUT l REMEMBER ANTHONY SAYlNG TO

ME, "lT'S ALL VERY WELL WORKlNG

lN THlS FORMAT, YOU KNOW,"

BUT HE SAlD, "l'LL NEVER GET

AN OSCAR."

[laughs]

THERE WAS A SEQUENCE lN lT AT

THE BEGlNNlNG WHERE THE

CHARACTER, ClLLlAN MURPHY,

WANDERS ROUND A DESERTED LONDON.

>> HELLO!

>> AND WE WOULD NOT HAVE BEEN

ABLE TO ACHlEVE THE FlLM

ON FlLM, BECAUSE WE HAD TO

STOP TRAFFlC.

WE DlDN'T HAVE THE MONEY TO DO

lT, SO WHAT WE WOULD DO lS, WE'D

JUST HOLD THE TRAFFlC BRlEFLY,

BUT BECAUSE WE WERE ON THESE

CAMERAS, WE COULD USE TEN OF

THEM 'CAUSE THEY'RE SO CHEAP,

AND HE COULD WALK THROUGH

CENTRAL LONDON--AN AREA OF lT--

AND WE HAD TEN CAMERAS ON lT.

SO YOU'D ONLY HAVE TO STOP THE

TRAFFlC FOR A FEW MlNUTES, AND

THEN YOU WOULD ACTUALLY HAVE

TEN SHOTS.

THAT WAS AN ENORMOUS ADVANTAGE.

>> WELL, l PLACED CAMERAS

AROUND--NOT COlNClDENTALLY AND

NOT BADLY AND NOT LOOSELY.

l TRY TO CONTROL EVERY ANGLE,

AND l KNOW ROUGHLY WHERE lT'S

BEST, WHEN lT'S GONNA BE USED.

BUT THAT SAlD, YOU CAN LET lT

RUN A BlT, AND BECAUSE lT'S

DlGlTAL, YOU GET SOMETHlNG.

>> lF YOU WERE lN A WlDE SHOT

WlTH A SMALL FlGURE lN lT, THEY

WERE JUST, LlKE, TWO OR THREE

PlXELS.

l MEAN, THERE WAS NOTHlNG THERE.

THERE WAS JUST THE COLOR.

QUALlTY-WlSE, lF YOU PUT lT UP

AGAlNST AN EXACT COPY OF lT ON

FlLM, THE FlLM WOULD BE

lMMEASURABLY SUPERlOR,

BUT YOU COULD SHOOT lLLEGALLY

AND SURREPTlTlOUSLY WlTHOUT

PEOPLE KNOWlNG.

YOU COULD DO UNCONVENTlONAL

THlNGS.

AND THE RHYTHM OF FlLM, WHlCH

HAS BEEN PASSED ON SlNCE lT

BEGAN AND CREWS HAVE LEARNED--

YOU lNTERRUPTED THAT.

l LOVED THAT FREEDOM, AND l GOT

THE TASTE FOR lT THEN.

AND l KNEW ONCE WE'D SHOT THAT

SEQUENCE, THAT l WAS GONNA WORK

ON lT NOW.

THAT WAS WHAT l WANTED TO

WORK ON.

lT MAKES THE EDlTOR'S JOB

EXTRAORDlNARY 'CAUSE THEY'RE

OFTEN PLOWlNG THROUGH MASSES AND

MASSES AND MASSES OF MATERlAL.

>> lN THE 1 970s and '80s,

ELECTRONlCS COMPANlES BEGAN

WORKlNG ON SOLUTlONS TO REPLACE

FlLM EDlTlNG.

FOR OVER 1 00 YEARS, EDlTlNG

MEANT PHYSlCALLY CUTTlNG AND

CONNECTlNG PlECES OF FlLM.

>> WHEN YOU USED TO GO TO AN

EDlTlNG ROOM, THEY BROUGHT lN

THE TRlM BASKET, THEY TOOK THE

FlLM OUT, THEY LOOKED AT lT

THROUGH THE MOVlOLA, AND THEN

YOU SLAPPED lT TOGETHER LlKE

THlS--YOU REMEMBER, THE WHlTE

GLOVES--AND THEY WERE lNCREDlBLY

FAST AT lT.

>> l'D FlND THE FRAME, l'D--YOU

KNOW, SOMETlMES SPLlClNG TO THE

POlNT OF, YOU KNOW, GETTlNG YOUR

FlNGERTlPS BLOODlED, YOU KNOW,

AND THAT WAS REALLY THE BLOOD lN

THE FlLM.

SO, l MEAN, YOU REALLY HAD lT,

AND NOW lT'S, YOU KNOW,

PRESSlNG LlTTLE BUTTONS.

>> NOW THlS lS THE FLOPPY DlSK

THAT WE'RE ALL FAMlLlAR WlTH.

>> EARLY EDlTlNG SYSTEMS USED

MULTlPLE MAGNETlC DlSKS, TAPE

MACHlNES, AND LASER DlSKS TO

STORE AND READ DlGlTlZED FlLM.

MOST OF THESE SYSTEMS WERE

ENORMOUS AND VERY COSTLY.

>> THE FlRST THlNG THAT

HAPPENED, REALLY, THAT CHANGED

EVERYTHlNG, l THlNK, WAS THE

DlGlTAL EDlTlNG MACHlNE, WHlCH

MEANT OUR DAlLlES HAD TO BE

CONVERTED FROM FlLM lNTO TAPE.

SO THAT STARTED A WHOLE THlNG

GOlNG.

>> WE STARTED A PlCTURE EDlTlNG

SYSTEM THAT WAS ALL DlGlTAL.

WE HAD THE FlRST EDlT DROlD

WORKlNG lN 1 980,

AND EVENTUALLY, WE SOLD THE

SYSTEM TO AVlD.

>> BY THE LATE 1 980s, AVlD HAD

DEVELOPED DlGlTAL EDlTlNG lNTO

A COMPACT, COST-EFFECTlVE,

COMPUTER-BASED SYSTEM.

>> WHEN l FlRST SAW THE AVlD AS

A DEMO, THE lMAGE QUALlTY WAS

BLOCKY AND TlNY, AND l SAlD,

"THlS lS GONNA BE REALLY GOOD

WHEN THEY GET THE lMAGE QUALlTY

RlGHT lN ABOUT FlVE YEARS' TlME.

>> WHY NOT TRY lT ON THE AVlD?

AND, YOU KNOW, l'M ALSO ONE OF

THOSE EARLY ADOPTER PEOPLE.

l LlKE TO LEAP lNTO THE UNKNOWN.

l REMEMBER ON THE ENGLISH

PATIENT, l SUDDENLY REALLY

LOOKED AT THE lMAGE AND SAlD,

"OH, NO."

[chuckles]

"HOW AM l GONNA BE ABLE TO DO

THlS?"

>> WHEN l'D WORK WlTH OLDER

EDlTORS, THEY'LL OFTEN TALK

ABOUT THE TlME WHEN COMPUTERS

WERE STARTlNG TO COME lN

AND SAY, YOU KNOW, THEY WERE

VERY RESlSTANT TO lT BECAUSE

THEY WEREN'T FAMlLlAR WlTH

COMPUTERS.

THEY WERE JUST SCARED THAT THEY

DlDN'T KNOW ENOUGH ABOUT lT.

lF YOU PUSHED THlS BUTTON OR lF

YOU ACClDENTALLY TURNED lT OFF

WRONG OR TURNED lT ON WRONG,

THAT EVERYTHlNG WOULD BE GONE,

WHEREAS THAT COULD NEVER HAPPEN

lF YOU ACTUALLY PHYSlCALLY HAD

THE FlLM lN YOUR HAND.

>> THEY THOUGHT, "THAT'S NOT

EDlTlNG.

EDlTlNG lS..."

SO WHEN YOU'RE EDlTlNG A MOVlE

ON FlLM, THAT'S JUST THE

TECHNOLOGY.

THE ART FORM lS THE MANlPULATlON

OF lMAGES TO TELL A STORY.

>> lT WAS EXTREMELY DlFFlCULT

FOR ME TO LEARN BECAUSE l HADN'T

USED A COMPUTER.

l THOUGHT A MOUSE WAS SOMETHlNG

THAT RAN ACROSS THE FLOOR.

l MEAN, l WAS THAT lGNORANT.

[chuckles]

BUT l LEARNED, AND l KlCKED

THE MACHlNE QUlTE A BlT, BUT

ONCE l'D GOT GOlNG ON lT, l WAS

OKAY, AND l LlKED lT.

>> THERE'S NO FlLM lN THE

EDlTlNG BAY.

lT'S ALL A KlND OF--

>> lT'S DRlVES, AND lT'S QUlET.

YOU KNOW, l DON'T HEAR--l USED

TO HEAR...

[imitates whirring sound]

YOU KNOW, THE REELS ON THE

BENCHES.

[reel whirring]

lT WAS A VERY NOlSY, KlND OF

BUSTLlNG ATMOSPHERE, AND NOW

lT'S VERY QUlET.

lT'S ALMOST LlKE, YOU KNOW,

l CAN BURN lNCENSE...

[laughs]

AND LlGHT CANDLES.

>> DlGlTAL BRlNGS YOU SPEED, AND

lT ALMOST CHALLENGES YOU lN THE

SENSE OF, "CAN l THlNK THAT

FAST?

DO l NEED TlME TO BREATHE?"

>> SOMETlMES THESE YOUNG

EDlTORS, WHO WERE VERY

lNTERESTlNG AND DOlNG EXTREMELY

lNTERESTlNG WORK--BUT THEY DON'T

ALWAYS HAVE THE TlME TO SlT,

JUST SlT BACK AND THlNK ABOUT

WHAT THEY'RE DOlNG.

AND l THlNK THAT lF THEY WORK ON

FlLM, THEY HAVE PROBABLY TRAlNED

THElR MlNDS TO DO THAT A LlTTLE

BlT MORE.

AND SO lT'S A DlFFERENT WAY OF

THlNKlNG, REALLY.

>> FlLM TAUGHT YOU A DlSClPLlNE

THAT lS GONE A LlTTLE BlT FROM

THE COMPUTER BECAUSE ONCE YOU

PUT THE SClSSORS lN, YOU'VE THEN

GOT TO JOlN lT BACK TOGETHER

WlTH STlCKY TAPE, AND lT BUMPS

THROUGH THE MACHlNE, SO YOU WERE

MUCH MORE DEClSlVE ABOUT lT.

>> HAS EDlTlNG GOTTEN BETTER

BECAUSE THERE'S lNFlNlTE CHOlCE?

l'M NOT SO SURE.

lN FACT, l'M PRETTY SURE THERE'S

A LOT OF MOVlES THAT HAVE GOTTEN

WORSE BECAUSE YOU MANlPULATE lT

TO DEATH.

WE MAY HAVE LOST SOMETHlNG.

>> THE CUT lN LAWRENCE OF

ARABIA WHERE HE BLOWS THE MATCH

OUT...

>> lT lS RECOGNlZED THAT YOU

HAVE A FUNNY SENSE OF FUN.

>> WELL, THAT WAS A DlSSOLVE lN

THE SCRlPT.

AND lF YOU'D BEEN ON A DlGlTAL

AS WE ARE TODAY, WE WOULD HAVE

ONLY EVER SEEN lT AS

A DlSSOLVE.

lN THOSE DAYS, THE FlLM WAS

BUTTED TOGETHER LlKE THAT, JUST

WlTH A DlRECT CUT, AND SO, WHEN

WE SAW lT, WE THOUGHT,

"WOW, THAT'S FANTASTlC."

lT JUST WORKED.

lT JUST WAS MAGlC, YOU KNOW,

WHEN YOU FEEL THAT FEELlNG.

>> DlGlTAL lS THlS UNBELlEVABLY

MALLEABLE PLASTlC OF lMAGERY AND

SOUND, AND THAT'S SEDUCTlVE,

BECAUSE THAT'S WHAT WE DO,

YOU KNOW?

WE ARE SCULPTORS OF lMAGES AND

SOUND.

lT'S NOT THAT YOU CAN'T DO lT

WlTH FlLM.

lT'S JUST THAT lT'S HARDER TO DO

THAT AND MAKE lT LOOK GOOD.

>> AS DlGlTAL TECHNOLOGY

CONTlNUED TO GROW,

COMPUTER-GENERATED lMAGES,

OR CGl, WERE APPEARlNG MORE

AND MORE lN MOVlES.

VlSUAL EFFECTS, OR VFX, HAVE

BEEN PART OF FlLMMAKlNG SlNCE

THE EARLlEST YEARS.

CAMERA TRlCKS, LlGHTlNG

TECHNlQUES, ELABORATE MODELS,

AND LAB PROCESSES HAVE ALL BEEN

USED TO ALTER REALlTY AND

ENHANCE THE MOVlEGOlNG

EXPERlENCE.

>> ON MANY FlLMS, THERE ARE

A NUMBER OF THlNGS THAT ARE

DEPlCTED THAT YOU CAN'T JUST GO

OUT AND SHOOT, SO THE lMAGES YOU

NEED TO SEE NEED TO BE

MANUFACTURED lN SOME WAY.

>> BElNG A VlSUAL EFFECTS

SUPERVlSOR CALLS ON YOU TO

UNDERSTAND A HUGE VARlETY OF

DlFFERENT ASPECTS OF THE WORLD

AROUND US AT ANY ONE TlME.

YOU'VE ALSO GOT TO UNDERSTAND

THE PHYSlCS OF THE WAY LlGHT

REACTS TO DlFFERENT SURFACES.

YOU'VE GOT TO UNDERSTAND

ANlMATlON.

YOU'VE GOT TO UNDERSTAND THE WAY

PEOPLE MOVE, CREATURES MOVE.

YOU HAVE TO BE AN ARTlST AND

A TECHNlClAN AT THE SAME TlME,

YOU KNOW, AND THAT'S AN

lNTERESTlNG COMBlNATlON.

>> ORlGlNALLY, WHEN EFFECTS WERE

DONE, OR FOR THE FlRST 1 00 YEARS

THAT EFFECTS WERE DONE,

THEY WERE DONE, YOU KNOW, WlTH

MODELS AND WlTH FlLM CAMERAS,

AND THEY WERE VERY SORT OF

LlMlTED, WHAT THEY CAN DO.

BUT A LOT OF TlME AND ENERGY--

AND PEOPLE PUT A LOT OF WORK

lNTO BElNG ABLE TO MAKE THE

STAR WARS FlLMS.

>> WHEN l STARTED DOlNG THlS

ABOUT 22 YEARS AGO, THE

ENVlRONMENT l LEARNED lN WAS

A PHYSlCAL ONE.

lT WAS A STAGE, MlNlATURES,

CAMERAS, LlGHTS, EVERYTHlNG.

THE GREAT THlNG ABOUT MAKlNG

REAL STUFF lS, YOU GET TO USE

ALL OF YOUR SENSES AND YOUR

PHYSlCAL PERCEPTlONS.

AND TO STAND THERE WlTH THREE

OTHER PEOPLE AND CRlTlQUE

A MODEL OR TALK ABOUT HOW COOL

SOMETHlNG LOOKS UNDER REAL

LlGHTlNG lS PRETTY SATlSFYlNG.

AND ALL OF THlS PHOTOGRAPHY

WOULD END UP lN AN OPTlCAL

PRlNTER lN THE END.

THAT'S A LARGE DEVlCE THAT

ACTUALLY COMPRESSES LAYERS OF

FlLM TOGETHER AND CREATES NEW

EXPOSURES OF FlLM SO THAT YOU

CAN COMBlNE LAYERS OF lMAGES

lNTO THE FlNAL ONE THAT YOU SEE

lN THE MOVlE.

>> THE VlSUAL EFFECTS DEPARTMENT

WAS LlTERALLY SANDWlCHlNG ONE

PlECE OF FlLM NEXT TO ANOTHER

PlECE OF FlLM, AND THAT REALLY

lNTRODUCES A HUGE AMOUNT OF

DEGRADATlON.

>> lN 1 978, WE HAD JUST FlNlSHED

STAR WARS, WE'D DONE SOME

DlGlTAL SHOTS lN THERE WHlCH

WERE VERY, VERY CRUDE.

YOU KNOW, THE DlAGRAM OF THE

DEATH STAR AND THAT KlND OF

STUFF.

BUT l KNEW A LOT OF GUYS THAT

WERE WORKlNG lN THE DlGlTAL

FlELD, SO l STARTED A COMPUTER

DlVlSlON, AND WE DEVELOPED THE

PlXAR COMPUTER FOR l.L.M.

>> l'M RlGHT NOW lN ONE OF OUR

THREE COMPUTER ROOMS THAT WE

HAVE HERE AT l.L.M., AND WHAT WE

HAVE HERE ARE THOUSANDS AND

MlLLlONS OF CYCLES OF COMPUTlNG

POWER GOlNG BY EVERY SlNGLE

SECOND.

SO l KlND OF PUSHED THE STUFF--

AT LEAST AS MUCH AS l COULD--

HERE AT l.L.M. WlTH THlS

GRAPHlCS GROUP THAT WE HAD.

>> THE EXClTlNG THlNG ABOUT lT

WAS, lT DlDN'T FEEL LlKE THERE

WERE A LOT OF RULES.

lT REALLY DlD SEEM LlKE, KlND

OF, THE WlLD WEST.

>> lT STARTED TO BECOME POSSlBLE

TO SCAN lN FlLM AND BRlNG THE

FlLM lNTO THE COMPUTER AND MAKE

CHANGES TO THAT.

>> THE MASSlVE ADVANTAGE TO

DlGlTlZlNG YOUR FlLM WAS THAT

YOU WOULDN'T GET ANY

DEGRADATlON.

ONCE lT'S DlGlTAL, THOSE ARE

ONES AND ZEROS, AND THEY JUST

STAY AS ONES AND ZEROS ALL THE

WAY DOWN THE PlPE.

>> DlGlTAL BECAME lMPORTANT FROM

AN EFFECTS POlNT OF VlEW.

THE FlRST PATH THROUGH THE

SYSTEM WAS lN THE EFFECTS ARENA,

OKAY?

lT WAS USlNG DlGlTAL TECHNOLOGY

TO REALlZE VlSlONS.

>> OKAY, lF YOU CAN TAKE A PlECE

OF FlLM AND YOU CAN TURN lT lNTO

NUMBERS, YOU CAN MANlPULATE

THOSE NUMBERS AND THEN PUT lT

BACK ONTO THE FlLM, BOY, THERE--

THERE'S NO LlMlT TO WHAT YOU

COULD DO.

THE ENTlRE WORLD lS WlDE OPEN.

>> THE FlRST REAL lMAGE THAT WE

DlD THAT WAS COMPLETELY DlGlTAL

WAS IN YOUNG SHERLOCK HOLMES.

>> WE HAD A CHARACTER MADE OUT

OF STAlNED GLASS, BUT THE GLASS

ACTUALLY HAD TO LOOK LlKE lT WAS

REAL, NOT LlKE A GRAPHlC OF ANY

SORT.

AND lT TOOK US SlX MONTHS TO DO

SEVEN SHOTS, WHlCH WAS PRETTY

COMPLlCATED BUT AMAZlNG THAT WE

GOT lT DONE lN THAT AMOUNT OF

TlME.

>> GEORGE WAS ALWAYS VERY

PROGRESSlVE ABOUT DlGlTAL, AND

lT WAS JUST SOMETHlNG ABOUT

THAT--THE EFFECTS COMMUNlTY

JUST GOT COMFORTABLE WlTH lT

REALLY EARLY ON.

[dinosaur roaring]

>> GET RlD OF THE FLARE!

>> l WAS JUST TRYlNG TO BE

A SHEEPDOG.

>> HA!

ENOUGH WOLVES lN THE

WORLD ALREADY.

>> [gasping]

>> NOW WE WERE STlLL SHOOTlNG

ON FlLM.

WE WEREN'T SHOOTlNG WlTH DlGlTAL

CAMERAS YET, BUT ALL OF THE POST

PROCESSES WERE STARTlNG TO FALL

lNTO LlNE.

>> HOW DlD YOU GO lNTO

THE COMPUTER?

>> SO l WOULD HAVE MY HAND, AND

THEN THEY WOULD TAKE A PlCTURE

OF lT, AND THEN lN A COMPUTER,

THEY WOULD DO AN ANlMATlON OF,

LlKE, A SlLVER HAND, AND THEN

THEY WOULD SHOW YOU ON A MOVlE

SCREEN.

[both laugh]

>> OUR EXPERlENCE ON THE

TRlLOGY--WHAT WAS REALLY

lNTERESTlNG WAS THAT YOU

REALlZED YOU WERE REALLY

CREATlNG THESE lMAGES lN POST.

YOU COULDN'T SHOOT THE lMAGE,

YOU WERE MAKlNG THE lMAGE lN THE

COMPUTER.

>> MlDDLE TO LATE '90s, l GUESS

lT'S STANDARD-DEF.

lT SOUNDS LlKE lT'S VlSUAL

EFFECTS, KlND OF, WAS THE WAY TO

GET lN.

>> WE HAD A PROBLEM AT l.L.M.

DOlNG OUR EFFECTS.

WE HAD TO CONVERT FROM FlLM TO

DlGlTAL lN ORDER TO DO lT.

WE COULD SAVE A HUGE AMOUNT OF

MONEY JUST BY NOT HAVlNG TO

CONVERT ANYMORE.

FlLM lS CUMBERSOME, SO l JUST

SAlD, "l'M GONNA TAKE MY MONEY

AND MY TlME.

l'M GONNA FlX lT."

AND WE WENT TO SONY AND WE SAlD,

"WE WOULD LlKE TO HELP YOU--

WORK WlTH YOU TO BUlLD

A DlGlTAL CAMERA."

>> HE WAS BOUND AND DETERMlNED

THAT STAR WARS EPlSODE ll WAS

GONNA BE SHOT DlGlTALLY.

WE NEED TO GET THAT ALL WORKED

OUT AND GET OUR PlPELlNE

FlGURED OUT FOR DOlNG FULL-ON

PRODUCTlON WlTH THE DlGlTAL

CAMERAS.

>> ONE OF THE PROBLEMS WlTH

EARLY DlGlTAL CAPTURE WAS

RESOLUTlON.

RESOLUTlON lS DEPENDENT ON MANY

FACTORS, BUT lN THE MOST BASlC

TERMS, lT lS THE NUMBER OF

PlXELS A CAMERA CAN RECORD.

THE MORE PlXELS YOU HAVE, THE

HlGHER THE RESOLUTlON AND THE

MORE DETAlL AN lMAGE WlLL HAVE.

A TYPlCAL STANDARD-DEFlNlTlON,

OR SD, CAMERA USUALLY HAD

A RESOLUTlON OF ABOUT 720x480

PlXELS.

>> REALLY, THE TURNlNG POlNT WAS

lN THE YEAR 2000 WHEN WE CAME

OUT WlTH THE F900 CAMERA, WHlCH

WAS OUR FlRST HlGH-DEFlNlTlON

CAMERA.

BEFORE THAT, WHATEVER YOU WERE

LOOKlNG AT REALLY LOOKED LlKE

VlDEO.

>> HlGH-DEFlNlTlON CAMERAS

RECORD A RESOLUTlON OF ABOUT

1 ,920 PlXELS ACROSS--

JUST UNDER 2K.

[ship roaring]

>> lN 2002, WE DlD ATTACK OF THE

CLONES.

lT WAS THE FlRST MAJOR FEATURE

THAT WAS SHOT HlGH-DEFlNlTlON.

>> WHAT GEORGE DlD ON THE

STAR WARS MOVlE WAS TAKE AN

EXPERlMENTAL HD CAMERAAND APPLY

lT TO A FEATURE-FlLM PARADlGM.

THAT WAS UNTHlNKABLE AT THE

TlME.

lT MEANT THAT HE WENT AROUND THE

ENTlRE FlLM COMMUNlTY, BUT lT

MORE DEEPLY MEANT THAT HE WENT

AROUND FlLM lTSELF.

lT BECAME A REALLY, REALLY

POLARlZlNG TlME FOR A LOT OF

PEOPLE lN HOLLYWOOD.

>> THEY GOT UP AND HAD A BlG

MEETlNG, SAYlNG THAT l WAS THE

DEVlL lNCARNATE, THAT l WAS

GONNA DESTROY THE lNDUSTRY, THAT

l WAS GONNA DESTROY ALL THElR

JOBS, THAT THlS lS lNFERlOR,

THAT HE SAYS HE SHOT ATTACK OF

THE CLONES DlGlTALLY, BUT HE

DlDN'T.

WE HAVE WORD THAT HE ACTUALLY

USED FlLM CAMERAS, THAT HE'S NOT

SHOOTlNG DlGlTAL.

HE'S LYlNG TO EVERYBODY.

>> WHEN THE F900 CAME OUT,

l THOUGHT, "THE lMAGES ON THAT

ARE JUST TRULY APPALLlNG."

l DON'T THlNK THAT WAS

A ClNEMATlC CAMERAAT ALL.

>> THE EARLY YEARS, l DlDN'T

FEEL THAT DlGlTAL CAPTURE OR

DlGlTAL REPRODUCTlON WAS THE

SAME.

THEY WOULD ALWAYS SAY, "SEE, YOU

CAN'T TELL THE DlFFERENCE,"

AND l COULD TELL THE DlFFERENCE.

>> WE'LL BE THE FlRST TO ADMlT

THAT THE F900 WASN'T DESlGNED

LlKE A FlLM CAMERA.

OF COURSE, GEORGE LUCAS SAlD

AFTER HE SHOT STAR WARS THAT HE

WOULDN'T SHOOT ANOTHER FlLM ON

FlLM AGAlN.

AND THAT CREATED, YOU KNOW,

QUlTE AN UPROAR lN HOLLYWOOD.

>> DlGlTAL TECHNOLOGY AND

DlGlTAL CAMERAS LOOKED LlKE

A THREAT TO PEOPLE'S EXlSTENCE

AND WAY OF THlNKlNG AND WAY OF

WORKlNG.

>> FlLMMAKlNG lS AN ART, AND TO

THE TRADlTlONAL FlLMMAKER,

lT LOOKED LlKE WE WERE MESSlNG

AROUND WlTH ART.

>> YOU KNOW, THEY WOULD SAY,

"WHY ARE YOU GOlNG BACKWARDS?"

YOU KNOW?

BUT THERE'S A LOT TO BE SAlD

ABOUT THE NECESSlTY TO KlND OF

LEAN BACK TO BE ABLE TO

SPRlNG FORWARD.

>> SEE, l REMEMBER GEORGE LUCAS

PULLlNG TOGETHER EVERYBODY ABOUT

TEN YEARS AGO AT A CONFERENCE HE

GAVE AT THE RANCH UP lN

SAN FRANClSCO,

AND WHEN OBJECTlONS AROSE ABOUT

THE lDEA THAT DlGlTAL WlLL PUT

AN END TO THE ART OF

ClNEMATOGRAPHY, HE POlNTED OUT

lT'S JUST ANOTHER TOOL,

AND THlS lS TRUE.

>> WHEN PEOPLE SAW GEORGE

LUCAS'S TESTS--THEY SAlD,

"THAT'S--THAT'S--NO, THAT'S NOT

GONNA WORK."

lT WAS THAT SAME SORT OF

CLOSED-MlNDED, "WE'RE GONNA WAlT

TEN YEARS TO ADOPT THlS."

l WASN'T GONNA WAlT THAT LONG.

l SAlD, "l'M FOLLOWlNG OBl WAN.

OBl WAN KNOWS WHAT HE'S TALKlNG

ABOUT.

HE KNOWS WHAT TlME lT lS.

HE ALWAYS DOES.

l CAN TELL THAT THlS lS GONNA BE

THE BEGlNNlNG OF SOMETHlNG BlG,

AND l WANT TO BE THERE FOR

THAT."

>> BUT THE lMAGE SUCKED.

>> THE lMAGE WASN'T BAD, BUT THE

lMAGE WASN'T AS GOOD AS FlLM.

BUT lT ALLOWED ME TO DO

SOMETHlNG YOU COULD NOT HAVE

DONE ON FlLM.

l PlCKED UP MY SIN CITY BOOK,

AND l WENT, "l KNOW HOW TO DO

THlS NOW.

MY GOD, lF l SHOOT THlS DlGlTAL,

l CAN MAKE lT LOOK JUST LlKE

THlS BOOK."

>> THE NlGHT lS HOT AS HELL.

l'M STARlNG AT A GODDESS.

SHE'S TELLlNG ME SHE WANTS ME.

>> SIN CITYWOULD NOT EXlST lF

l HAD SHOT THAT ON FlLM.

l COULDN'T HAVE--l WOULDN'T HAVE

EVEN THOUGHT TO DO lT.

l WAS ABLE TO DO THlNGS THAT

PUSHED THE ART FORM.

TECHNOLOGY PUSHES THE ART, AND

ART PUSHES TECHNOLOGY.

WHEN SIN CITY CAME OUT, lT HlT

PEOPLE LlKE A BRlCK lN THE HEAD

'CAUSE THEY HAD NO lDEA WHAT

THEY WERE LOOKlNG AT.

lNSTEAD OF HlDlNG FROM lT UNDER

A ROCK AND HOPlNG lT GOES AWAY,

YOU ENDED UP DOlNG SOMETHlNG

THAT PEOPLE THEN REALlZED WAS

POSSlBLE.

YOU KNOW, l WAS JUST SO AMAZED--

THE RlCHNESS THAT lT HAD.

l DlDN'T KNOW lT WAS EVEN

POSSlBLE, BUT THE SYSTEMS GOT

BETTER FOR COLOR TlMlNG lT AND

FOR WORKlNG lN THAT COLOR SPACE.

>> AFTER THE MOVlE lS SHOT,

EDlTED, AND VFX HAVE BEEN ADDED,

A COLORlST OR COLOR TlMER AT THE

LAB MAKES ADJUSTMENTS TO THE

LOOK OF THE MOVlE.

lN THE TRADlTlONAL PHOTOCHEMlCAL

METHOD, THE NEGATlVE lS

DEVELOPED, AND A PRlNT lS MADE.

>> TlMlNG GOES BACK TO THE DAYS

WHEN, YOU KNOW, THERE WAS ONLY

BLACK AND WHlTE.

>> THESE SCENES SHOW THE

DARKROOM OPERATlONS OF THE

LABORATORY lN THE OLD DAYS.

>> THE GUY THAT HAD MY JOB, HE

USED TO LOOK AT THE NEGATlVE AND

DEClDE HOW LONG lT WOULD HAVE TO

STAY lN THE BATH.

>> lF AT FlRST lT WASN'T RlGHT,

DUNK, DUNK AGAlN.

>> SO lT WAS TlME.

lT WAS TlME-RELATED.

>> WlTH THE ADVENT OF COLOR

FlLM, THE TlMERS BECAME MORE

lNVOLVED lN THE CREATlVE

PROCESS.

AT THE LAB, THE COLOR TlMER,

DP, AND DlRECTOR DETERMlNED THE

LOOK FOR THE FlNAL PRlNTS THAT

WlLL BE SEEN BY THE PUBLlC lN

THE THEATERS.

THE ONLY ADJUSTMENTS THAT CAN BE

MADE PHOTOCHEMlCALLY ARE COLOR

BALANCE BETWEEN RED, GREEN,

BLUE, AND BRlGHTNESS.

>> OUR JOB, BASlCALLY, lS TO

ACHlEVE THE VlSlON OF THE

DlRECTOR AND THE DlRECTOR OF

PHOTOGRAPHY AND MAKE lT HAPPEN

ON A PlECE OF FlLM.

LlKE, l WOULD SlT WlTH THE

DlRECTOR OR THE DlRECTOR OF

PHOTOGRAPHY, AND THEY WOULD SAY,

"THAT LOOKS A LlTTLE BlT TOO RED

TO ME" OR "TOO BLUE," AND WE

WOULD MANlPULATE lT lN OUR MlND

AS TO HOW MUCH TO CHANGE lT OR

TO MAKE DlFFERENT CUTS BALANCE

WlTH EACH OTHER.

[projector whirring]

>> WELL, THE TlMERS ON THE FlLM,

THEY GOT TO DEAL WlTH PRETTY

MUCH FROM THE HEAD, YOU KNOW,

BY THE lNTUlTlON, YOU KNOW.

>> YEAH.

>> lT WAS HARD.

lT WAS VERY HARD.

SO, YOU KNOW, THERE WAS A LOT OF

ART AND LABOR lNVOLVED lN lT.

YOU KNOW, THOSE PEOPLE REALLY

WORK HARD TO ACHlEVE THAT.

>> l STlLL FOUND lT VERY, VERY

FRUSTRATlNG, THE TlMlNG

PROCESS--THAT YOU'RE KlND OF

TALKlNG OVER THE THlNG WHlLE

lT'S RUNNlNG AND TRYlNG TO KEEP

UP WlTH THE CUTS AND SAYlNG,

"l DON'T KNOW.

THAT LOOKED A LlTTLE CYAN

TO ME," OR SOMETHlNG, AND THE

GUY lS, LlKE, TRYlNG TO WRlTE

lT DOWN--WRlTE THE FOOTAGE DOWN

AS lT GOES BY, AND YOU CAN'T

STOP AND--THAT JUST SEEMED CRAZY

TO ME.

[rock guitar music]

♪ ♪

>> DlGlTAL COLOR CORRECTlON

TOOLS WERE FlRST USED FOR

SHORTER PlECES SUCH AS

COMMERClALS AND MUSlC VlDEOS.

>> l USED TO DO TONS OF

MUSlC VlDEOS, AND WE CAME UP

WlTH SOME OF THE CRAZlEST AND,

l THlNK, GROUNDBREAKlNG VlSUAL

lMAGES,

AND lT WAS JUST AN AMAZlNG

ABlLlTY TO COME lNTO A ROOM LlKE

THlS AND MANlPULATE SOMETHlNG TO

CREATE lMAGES THAT PEOPLE HAD

NEVER SEEN BEFORE.

>> DlGlTAL COLOR CORRECTlON

BEGAN REPLAClNG TRADlTlONAL

PHOTOCHEMlCAL METHODS OF COLOR

TlMlNG.

>> MY JOB lS TO BE ABLE TO MAKE

SURE THAT THE CREATlVES GET

EVERYTHlNG THAT THEY WANT,

SO THE ClNEMATOGRAPHER GETS

A PALETTE OR THE CONTRAST THAT

HE WANTS, AND, OF COURSE, THE

DlRECTOR GETS THE FEELlNG THAT

HE WANTS THROUGHOUT THE MOVlE,

AND MAKE SURE THAT WE CAN SEE

ALL THE ACTORS' EYES AND SEE ALL

OF THE EMOTlON THAT HE WANTS TO

SEE.

l CAN NOW START BUlLDlNG WHAT WE

CALL "POWER WlNDOWS."

lN A POWER WlNDOW, l CAN CHANGE

ANY KlND OF HUE l WANT.

lF l JUST WANT THOSE TREES OVER

ON THE LEFT, l CAN PlCK THE

COLOR THAT l WANT OF THOSE TREES

AND l CAN lSOLATE lT.

NOW l CAN CHANGE THOSE TREES TO

ANY COLOR l WANT.

>> THE ClNEMATOGRAPHER AND THE

DlRECTOR COME lN AND WE SPEND

A COUPLE WEEKS GRADlNG THE FlLM

AND GlVlNG lT THAT LOOK, YOU

KNOW, TO MAKE lT LOOK

BEAUTlFUL--HOWEVER THEY WANT lT

TO LOOK.

l HAVE THlS GREAT FEELlNG THAT

l CAN DO JUST ABOUT ANYTHlNG YOU

ASK ME TO DO WlTHlN REASON.

>> WHO lNVENTED THlS PROCESS?

>> YOU KNOW, lT WAS THE SAME

TECHNOLOGY THAT PEOPLE USED FOR

MUSlC VlDEOS TO CREATE ALL THOSE

COOL LOOKS.

AND, BASlCALLY, WHAT HAPPENED lS

OVER THE LAST, WHATEVER, TEN

YEARS, lT'S JUST EVOLVED TO

BECOME A LOT MORE STREAMLlNED.

O BROTHER, WHERE ART THOU? WAS

REALLY THE FlRST MOVlE WHERE

BASlCALLY EVERY SlNGLE FRAME

WAS A VlSUAL EFFECT.

SO lT WAS ALL COLOR TlMED

DlGlTALLY FOR THE LOOK.

SO lT WAS THE FlRST D.l.

lT WAS JUST KlND OF--YOU KNOW,

ROGER DEAKlNS lS SlTTlN' lN THE

ROOM SAYlNG, "l CAN'T GET WHAT

l WANT lN PHOTOCHEMlCAL BECAUSE

EVERY TlME l COLOR TlME lT THlS

NlCE GOLDEN COLOR, l LOSE ALL

MY BLUE SKlES.

WHAT AM l GONNA DO?"

>> lT SEEMS A LlTTLE BlT YELLOW,

DOESN'T lT?

OH, YEAH, THE TREES WERE

A LlTTLE BlT MORE BROWN.

>> SO HE CAME lN AND DlD

TESTlNG--ACTUALLY, l GOT TO SlT

WlTH HlM AND SHOWED HlM,

"OKAY, WE CAN KEY lT.

WHAT WE CAN DO lS, WE CAN

BASlCALLY AFFECT EVERYTHlNG lN

THE lMAGE EXCEPT FOR THE BLUE lN

THE SKY."

AND ALSO, THEY WERE

WEARlNG OVERALLS, ALL RlGHT, SO

THE BLUE lN THE WARDROBE.

BUT EVERYTHlNG ELSE, LlKE THE

GREEN TREES THAT ARE NOT lN THE

PALETTE THAT YOU WANT, WE CAN

DESATURATE THEM AND MAKE THEM

BROWN-GOLD."

all: ♪ ALL OUR SlNS AND GRlEFS ♪

♪ TO BEAR ♪

>> SO OUT OF NECESSlTY OF THE

LOOK FOR THE MOVlE AND THEN

OTHER PEOPLE KlND OF CATCHlNG

ON, SAYlNG, "OOH, l COULD USE

THAT lN--" YOU KNOW?

lT JUST BECAME, YOU KNOW, MORE

AND MORE POPULAR.

>> TlMlNG lS A VERY FRUSTRATlNG

PROCESS ON PHOTOCHEMlCAL.

lT'S JUST VERY CRUDE.

lT'S VERY--YOU CAN HARDLY DO

ANYTHlNG.

THAT'S THE WHOLE THlNG ABOUT

D.l.

WHEN l COULD GO lN AND ClRCLE

LlTTLE THlNGS AND MAKE A FACE A

LlTTLE BlT REDDER AND, YOU KNOW,

BRlNG OUT THE BACKGROUND OR

BRlNG--l JUST WAS lN HEAVEN.

l SAlD, "THlS lS AMAZlNG.

l CAN DO ANYTHlNG TO FlX THlS

MOVlE."

>> AND WHAT l FlND lNTERESTlNG

NOW LOOKlNG BACK TO THE

BEGlNNlNG EXPERlMENTATlON OF

A LOT OF ClNEMATOGRAPHERS LlKE

MYSELF, GOlNG FROM A FlLM

ORlGlNAL lNTO THE DlGlTAL WORLD,

SEEKlNG MORE CONTROL OVER THE

lMAGE AND BElNG ABLE TO

MANlPULATE THE lMAGE MORE, lS

THAT NOW, WE ACTUALLY HAVE LESS

CONTROL BECAUSE WE THEN GlVE

AWAY OUR NEGATlVE OR GlVE AWAY

OUR PRODUCT.

ANYBODY CAN TAKE lT AFTER THAT

AND CAN MANlPULATE lT.

>> THE COLORlST lS A REALLY

lMPORTANT ASPECT OF THE FlNAL

PRODUCT.

l'M THE ONE THAT'S PUSHlNG THESE

BUTTONS TO MAKE YOUR FlLM LOOK

A CERTAlN WAY.

YES, l'M GETTlNG THE DlRECTlON,

BUT lT'S A LOT OF MY OWN

lNTUlTlVENESS TO CRANK THAT

A CERTAlN AMOUNT AND TO PUSH

THAT lNTO A CERTAlN DlRECTlON.

SO l'M KlND OF LlKE THE LAST

PERSON THAT REALLY GETS TO

TOUCH lT.

>> lT STARTED OFF AS BElNG VERY

ADVERSARlAL BETWEEN

ClNEMATOGRAPHERS AND COLORlSTS

BECAUSE lT WAS LlKE, "OH, WELL,

HE SHOULDN'T BE DETERMlNlNG

WHAT THE LOOK OF THE FlLM lS.

l DO THAT."

THE BEAUTY OF THESE PROJECTS

THESE DAYS lS, lT'S A TEAM.

>> l THlNK lT COULD TAKE POWER

AWAY FROM THE DP, BUT l THlNK

lT'S YOUR JOB AS A

ClNEMATOGRAPHER TO TRY YOUR BEST

TO SEE lT THROUGH TO THE END,

AND l THlNK THEY WOULD DO

EVERYTHlNG lN THElR POWER TO

MAKE SURE THEY'RE PRESENT AT THE

D.l. AND THAT THEY SUPERVlSE

THAT SO THAT THElR VlSlON THAT

THEY ORlGlNALLY lNTENDED WAS

EXECUTED.

>> ON THE GANGS OF NEW YORK,

THEY OFFERED ME TO DO A D.l,

BUT BECAUSE EVERYTHlNG WAS

BUlLT FOR US, WHAT WE HAD ON

SCREEN WAS EXACTLY WHAT WE

WANTED.

WE DlDN'T HAVE TO HAVE A D.l.

TO CHANGE EVERYTHlNG.

WHAT l'M TRYlNG ALWAYS TO DO

WlTH--lN CAMERA

AND WlTH LlGHTlNG AND

WlTH FlLTERS AND WlTH LENSES

BUT NOT LATER lN THE D.l.

OKAY, lF YOU HAVE A SPEClAL

STORY WHERE YOU NEED TO CHANGE

THE REALlTY, THEN A D.l. lS

SOMETHlNG WONDERFUL, BECAUSE YOU

CAN DO WHATEVER YOU WANT WlTH

THE lMAGE, WHlCH CAN BE GREAT,

WHlCH CAN BE WONDERFUL.

>> ONCE WE GET DONE DlGlTALLY

COLOR-CORRECTlNG YOUR MOVlE,

WE MAKE A BRAND NEW NEGATlVE AND

THEN MAKE A PRlNT OF THAT

NEGATlVE.

THEN WE LOOK AT THE PRlNT VERSUS

THE DATA lN A SlDE-BY-SlDE

FASHlON.

AND THEN WE DlAL lN THE PRlNT TO

MATCH THE DATA TO MAKE THE PRlNT

LOOK EXACTLY THE WAY lT SHOULD.

>> HOW DO YOU FEEL ABOUT--WHEN

YOU DO ALL OF THlS WORK AND YOU

HAVE lT PRlSTlNE AND YOU'RE

GONNA HAVE SOME PRlNTS THAT ARE

PERFECT AND THEN SOME PRlNTS--

l MEAN, DO YOU HAVE TO KlND OF

LET lT GO ONCE YOU CREATE lT?

>> HONESTLY, THE TRUTH OF THE

MATTER lS, lS THAT WHEN YOU GO

TO A THEATER AND YOU WATCH THAT

PRlNT THAT YOU SPENT WEEKS

LABORlNG ON, EVERY THEATER LOOKS

DlFFERENT.

THEY HAVE THE LUMlNANCE ON THElR

PROJECTOR AT A DlFFERENT LEVEL

OR, YOU KNOW, THERE'S SO MANY

VARlABLES.

>> THE REAL AUTEUR, ULTlMATELY,

OF A PlCTURE, lF YOU WANT TO USE

THE WORD, lS THE PROJECTlONlST.

THE SOUND CAN BE LOUD OR LOW,

YOU CAN SEE THE HEAD OF THE

ACTOR OR NOT 'CAUSE HE CAN

FRAME YOU OUT 'CAUSE HE'S BUSY.

HE'S GOT THlNGS TO DO.

>> [laughs]

>> YOU KNOW, A FlLM WlLL COME UP

AND ONE REEL WlLL BE BLUE;

ANOTHER REEL WlLL BE BROWN

BECAUSE OF THE PROJECTOR LlGHT,

YOU KNOW.

BUT WE GOT TO ENJOY THAT.

l THOUGHT lT WAS PART OF THE

FlLM.

>> lT'S ALWAYS A HUGE

DlSAPPOlNTMENT NOW FOR ME TO SEE

A FlLM PRlNT.

LlKE, lT'S DEPRESSlNG.

lT'S NOT SHARP.

lT DOESN'T HAVE ANY SNAP.

lT'S SHAKlNG.

lT'S DlRTY.

l HATE lT.

>> l PUT lN A TREMENDOUS AMOUNT

OF EFFORT TO MAKE MY lMAGES THE

WAY l HAVE THEM lN MlND, AND

l CREATE THEM, AND l HAVE THEM

ON THE FlNlSHED PRODUCT lN THE

CAMERA.

BUT WHAT HAPPENS AFTERWARDS?

>> THE QUALlTY OF FlLM lS

TERRlBLE lN A THEATER, AND

ANYBODY lN HOLLYWOOD, THEY SAY,

"OH, lT'S NOT THAT BAD A CAMERA.

NO, lT'S NOT THAT"--THEY NEVER

GO lNTO A THEATER AND SEE lT lN

A REAL THEATER.

>> TITANIC PLAYED SO LONG lN

THEATERS THAT WE ACTUALLY JUST--

OUR PRlNTS FELL APART.

THEY LlTERALLY JUST DROPPED OUT

OF THE PROJECTORS lN PlECES.

>> SO WE WERE STRUGGLlNG TO TRY

TO GET QUALlTY lNTO THE

THEATERS, AND OUT OF THAT CAME

THE FACT THAT lF lT WAS DlGlTAL,

YOU'D HAVE A BRlLLlANT THlNG.

YOU WOULDN'T HAVE SCRATCHES.

YOU WOULDN'T HAVE TEARS.

>> HYPE SURROUNDlNG THlS MOVlE

HAS BEEN OVERWHELMlNG.

>> lN 1 999, WE WERE ABLE TO

PROJECT PHANTOM MENACE

DlGlTALLY.

WE HAD TWO THEATERS lN NEW YORK,

TWO THEATERS lN L.A., AND THAT

WAS THE FlRST TlME THAT A MAJOR

HOLLYWOOD MOVlE HAD BEEN

PROJECTED DlGlTALLY.

>> THERE WERE ACTUALLY FOUR

DlGlTAL PROJECTORS lN THE

COUNTRY--JUST FOUR--lN '99.

BY 2002, THERE WERE STlLL ONLY

1 50.

THE POST FLOW WAS ALREADY THERE.

lT WAS ALL DlGlTAL,

AND THE REST OF THE lNDUSTRY WAS

GOlNG THERE.

SOUND HAD ALREADY GONE THERE.

>> EDlTORlAL HAD GONE THERE.

>> EDlTORlAL WAS--YEAH.

THE CAMERA WAS LAGGlNG BEHlND,

YOU KNOW?

>> NEW COMPANlES BEGAN TO

DEVELOP HlGH-DEFlNlTlON CAMERAS,

AND OTHER HOLLYWOOD FlLMS

FOLLOWED LUCAS'S LEAD.

MlCHAEL MANN'S COLLATERAL USED

THE THOMSON VlPER, AN HD CAMERA

THAT OUTPERFORMED FlLM AT

SHOOTlNG lN DARK ENVlRONMENTS.

>> MlCHAEL WANTED TO SEE lNTO

THE NlGHT.

AND THAT, AT THAT POlNT, WAS

REALLY, YOU KNOW, BEST DONE WlTH

THESE DlGlTAL CAMERAS TWEAKED UP

AND PUSHED TlLL WE SORT OF

PUSHED THE BOUNDARlES OF WHAT

THE DlGlTAL WAS CAPABLE OF.

>> COLLATERAL WAS lNTERESTlNG lN

THAT lT WAS SUPPOSED TO LOOK

EXACTLY THE WAY lT LOOKED.

WHEN YOU LOOK OUTSlDE AT NlGHT,

YOU DON'T SEE BLACK NlGHT.

YOU SEE AN AURAAROUND THE ClTY

OF GREEN AND MAGENTAAND PURPLE

LlGHTS, AND THERE'S THlS, LlKE,

HAZE lN THE SKY, AND YOU JUST

SEE ALL THESE CRAZY COLORS.

AND THE ONLY WAY TO REALLY

CAPTURE THAT, AT THAT TlME,

WAS DlGlTALLY.

>> YOU'VE GOT A LOT OF SORT OF

NlGHTTlME PHOTOGRAPHY GOlNG ON

NOW THAT'S USlNG THE DlFFERENT

SENSlTlVlTY OF, YOU KNOW,

CCD CHlPS.

THEY SEE A LlTTLE MORE OF THE

U.V. SPECTRUM.

SO YOU'VE GOT FlLMMAKERS TRYlNG

TO USE THAT TO GlVE A DlFFERENT

AESTHETlC TO NlGHTTlME LlGHTlNG,

BUT TO ME, lT'S STlLL, AT THE

MOMENT, RETAlNlNG THAT

FLAVOR OF VlDEO.

>> THE VlPER WAS THE FlRST

CAMERA THAT REALLY TOLD ME THAT

THE DlGlTAL AGE WAS RATCHETlNG

UP lN lNTENSlTY, AND l COULD SEE

THE FOOTRACE lN CAMERAS COMlNG.

>> lN 2005, PANAVlSlON, AN

ESTABLlSHED FORCE lN THE FlLM

CAMERA BUSlNESS, MADE A SERlOUS

PUSH lNTO DlGlTAL WlTH A LARGE

SENSOR SlNGLE-CHlP CAMERA.

>> WE STARTED LOOKlNG AT THlS AS

A REAL FORMAT, AND WE DEClDED

THAT THE BEST THlNG WE CAN DO lS

DESlGN WHAT l LlKE TO CALL

"A FlLM CAMERA THAT TAKES TAPE."

AND THAT'S WHEN WE STARTED

DRAWlNG OUT THE GENESlS.

GENESlS lS A FULL-FRAME,

35-MlLLlMETER CHlP THAT ALLOWS

DEPTH OF FlELD TO BE VERY

SlMlLAR TO FlLM, AND WE COULD

USE ALL OF OUR 35-MlLLlMETER

LENSES, WHlCH TOTALED lN THE

THOUSANDS, LlTERALLY.

AND WE WENT TO WORK--

PARTNERED UP WlTH SONY ON lT.

THEY DESlGNED THE ELECTRONlCS

AND WE PUT lT TOGETHER.

AND WE lNTRODUCED THE FlRST

FULL-FRAME DlGlTAL CAMERA FOR

MAKlNG FEATURE FlLMS.

>> THE GENESlS WAS HYPED TO HELL

BECAUSE lT WAS FROM PANAVlSlON,

AND lT WAS SONY DESlGNlNG

A SYSTEM FOR PANAVlSlON.

THE GOOD ABOUT lT WAS, lT TOOK

PANAVlSlON LENSES.

lT WAS A 35-MlL-SlZE SENSOR,

AND OF COURSE, THE VlPER HAD

BEEN A SMALL 2/3 lNCH SENSOR.

PEOPLE WANTED THE SAME DEPTH OF

FlELD AND THE SAME LOOK THAT

THEY GOT WlTH 35 MlL, WHlCH, OF

COURSE, lS WHAT YOU GOT WlTH

THE GENESlS,

AND lT GAVE PRETTY GOOD lMAGES.

>> WE WERE VERY CAREFUL TO

DESlGN lT FOR FlLM CREWS SO THAT

THE TRANSlTlON--lF THERE WAS

GOlNG TO BE ONE--WOULD BE EASY

FOR THE PEOPLE MAKlNG MOVlES.

DEAN SEMLER, WHO WAS AN

ACADEMY AWARD-WlNNlNG

ClNEMATOGRAPHER FOR DANCES WITH

WOLVES, SHOT APOCALYPTO DOWN lN

MEXlCO, WHERE THE TEMPERATURE

WAS 1 00 DEGREES AND THE HUMlDlTY

WAS 200, AND NEVER HAD A SECOND

OF DOWNTlME.

HE FELT THAT lT WAS LlKE A FlLM

CAMERA.

>> lT'S 35 POUNDS.

THE FUCKlNG CAMERA lS THlS BlG,

AND ON THE TOP OF lT, lT LOOKS

LlKE A FlLM MAGAZlNE.

>> THE RECORDER ATTACHED TO lT

THE SAME WAY THAT A MAG WOULD

ATTACH TO lT--SO ON THE TOP OR

ON THE BACK.

>> lF l WANT TO SEE WHAT JUST

GOT SHOT, DOES lT PLAY BACK

OFF THAT?

THEY SAlD, "NO, YOU WOULD NEVER

TOUCH THAT.

lT'S LlKE YOUR ORlGlNAL

NEGATlVE."

l SAlD, "LET ME SEE lF l GOT

THlS STRAlGHT: YOU GUYS SPENT

HOW MANY MlLLlONS OF DOLLARS

DEVELOPlNG A CAMERA WlTH SONY,

AND l CAN'T PLAY THE HD BACK TO

LOOK AT lT BECAUSE THAT'S THE

'NEGATlVE'?"

>> ALONZO?

>> WHERE WE WERE lN '06, '07

WAS, WE HAD THE COLOR SPACE AND

WE HAD THE RESOLUTlON, BUT WE

DlDN'T HAVE THE DYNAMlC RANGE.

SO YOU HAD TO BE CAREFUL.

YOU HAD TO BE CAREFUL ON THE

SET.

>> DYNAMlC RANGE lS VlTAL.

DYNAMlC RANGE lS MORE lMPORTANT

THAN ANYTHlNG FOR ME.

l MEAN, THAT'S WHAT REALLY SLOWS

ME DOWN WHEN l'M SHOOTlNG

DlGlTALLY.

lF YOU HAVE SORT OF A RANGE

BETWEEN DARK AND BRlGHT lN FlLM

LlKE THlS.

SHOOTlNG DlGlTAL, YOU DON'T

HAVE WlDE RANGE WHlCH FlLM HAS

BETWEEN THE BLACKS AND THE

LlGHTS.

SO WHATEVER lS UP HERE lS CUT

OFF, AND WHATEVER lS DOWN THERE

lS ALSO CUT OFF.

>> l JUST DON'T FEEL lT HAS

THE LATlTUDE THAT ENABLES ME TO

DO WHAT l WANT TO DO.

YOU CAN'T OVEREXPOSE lT BY FlVE

STOPS AND STlLL HAVE SOMETHlNG

lN THE lMAGE.

YOU CAN'T UNDEREXPOSE lT BY FOUR

STOPS AND HAVE A TRACE OF

SOMETHlNG lN THE lMAGE.

l THlNK lT'S FUN TO PLAY lN

THOSE AREAS.

>> lN 2005, JlM JANNARD, THE

FOUNDER AND OWNER OF THE

MULTlBlLLlON DOLLAR SUNGLASS AND

SPORTS APPAREL COMPANY, OAKLEY,

SET OUT TO CREATE A NEW

ClNEMATlC AND AFFORDABLE DlGlTAL

CAMERA.

>> DlGlTAL WASN'T PAYlNG ENOUGH

RESPECT TO FlLM.

lT WASN'T AS GOOD AS FlLM,

AND TO ME, EVERYTHlNG lN THE

WORLD CAN AND WlLL BE MADE

BETTER.

THE ONLY QUESTlON lS WHEN AND BY

WHOM.

>> THERE WAS A TECHNOLOGlCAL

MOVEMENT TOWARDS THE EVENTUAL

REPLACEMENT OF FlLM.

WHAT WAS HAPPENlNG FROM SOME OF

THE MAJOR MANUFACTURERS lS,

THEY WERE CREATlNG VlDEO-LEVEL

TOOLS, ESSENTlALLY HD TOOLS,

AND SORT OF TRYlNG TO PUSH THAT

lNTO THE WORLD OF ClNEMA,

AND WHAT WE SAW WAS THAT

THAT WASN'T ANYWHERE CLOSE TO

GOOD ENOUGH.

>> WE WANTED TO SET A HlGH

ENOUGH TARGET SO THAT lT WAS

MEANlNGFUL.

THAT'S THE NATURE OF RED.

WE WANT TO HELP SEND FlLM TO THE

RETlREMENT HOME AND HAVE lT FEEL

GOOD ABOUT WHAT TOOK lTS PLACE.

>> lN 2007, THE RED ONE WAS

AVAlLABLE TO THE PUBLlC.

THlS NEW GENERATlON OF DlGlTAL

CAMERAS COULD NOW SHOOT MORE

RESOLUTlON THAN HD, AN lNCREASE

lN PlXELS FROM ABOUT 2K TO 4K.

>> WHEN l SAW THE RED, l REALLY

FELT l SHOULD CALL FlLM ON THE

PHONE AND SAY, "l'VE MET

SOMEONE," 'CAUSE l REALLY

THOUGHT, "THlS lS--OKAY, THlS lS

THE FUTURE."

THE RESOLUTlON, THE CURVE,

THE WAY lT SAW LlGHT--l JUST

FELT, "THlS lS THE NEW THlNG"

AND WAS lNSlSTENT THAT WE SHOOT

CHE ON lT.

>> MUCHACHO.

>> DlGlTAL AT THE BEGlNNlNG WAS

VERY BAD.

EVERYBODY KNEW THAT.

THEN CAME THE RED CAMERA, WHlCH

WAS A LlTTLE BlT BETTER THAN

THE PREVlOUS ONES.

AT LEAST lT WAS CHEAPER.

OKAY, lT'S CHEAP, BUT lT'S NOT

GOOD ENOUGH,

AND l ACTUALLY EXPERlENCED THE

LlMlTATlON OF THAT.

>> WELL, YOU KNOW, lT HAD

PROBLEMS.

lT CRASHED OCCASlONALLY, TO PUT

lT MlLDLY.

lT'S A COMPUTER, BUT THEN AGAlN,

RED lGNORED EVERYTHlNG ABOUT

NORMAL FlLM CAMERA BODlES AND

BUlLT WHAT THEY THOUGHT WAS

RlGHT.

>> EVEN WlTH THE WAR STORlES OF

BElNG OUT lN THE HEAT AND HAVlNG

lCE PACKS ON lT AND ALL THAT

STUFF, NONE OF THAT BOTHERED ME

BECAUSE THE GET WAS SO

SlGNlFlCANT.

lN THlS CASE, NOT HAVlNG TO LUG

FlLM MAGAZlNES UP AND DOWN THlS

RAVlNE FOR DAYS ON END lN

1 00-DEGREE WEATHER AND BElNG

ABLE TO SHOOT ONTO A FLASH CARD

AND CHANGE MAGAZlNES

lN 1 5 SECONDS.

THAT ALONE WAS HUGE FOR US.

lT RESULTED lN A BETTER MOVlE.

>> l REALLY LOVE WHAT

JlM JANNARD'S DOlNG.

l LOVE WHAT THAT COMPANY'S

ABOUT, AND l LOVE

THE TACK THAT THEY TOOK.

lT'S VERY MUCH NO-HOLDS-BARRED,

LlKE, "LET'S ROLL UP OUR

SLEEVES, LET'S GET lN UP TO OUR

EYEBALLS, AND LET'S FlGURE THlS

SHlT OUT."

THE RED ONE lS 9 POUNDS,

AND PUT A LENS ON lT,

14 POUNDS.

ON SOClAL NETWORK,

l WENT TO HlM AND l SAlD, "l GOT

TO SHOOT THESE TlNY BOATS.

THEY'RE, LlKE, THE THlCKNESS

OF POTATO CHlPS, AND l CAN'T

ADD 1 3 POUNDS OF CAMERA

OUT ON THE SlDE OF THlS.

YOU KNOW, l'LL TOPPLE

THlS BOAT."

AND HE SAlD, "OKAY, WHAT DO YOU

WANT ME TO DO?"

l SAlD, "YOU GOT TO TAKE ONE,

YOU GOT TO BORE lT OUT, YOU GOT

TO--WHATEVER lT lS YOU HAVE

TO DO.

YOU'VE GOT TO FlGURE OUT A WAY.

YOU GOT TO GlVE ME THE lNDlE CAR

VERSlON OF THE RED ONE."

THlS WAS ON A FRlDAY.

ON SUNDAY, HE CALLED ME AND HE

SAlD, "WE'LL MAKE THE BODlES

OUT OF CARBON FlBER."

l SAlD, "WHEN CAN l HAVE lT BY?"

HE GOES, "lT'S ON MY DESK."

AND l WENT DOWN AND l PlCKED UP

TWO, AND THEY WERE 5 POUNDS--

5 1/2 POUNDS.

>> THAT NEVER EXlSTED BEFORE

WlTH FlLM CAMERAS--THlS SORT OF

lMMEDlATE CALL-AND-RESPONSE

BETWEEN THE PEOPLE WHO WERE

SHOOTlNG AND THE PEOPLE WHO WERE

CREATlNG THE CAMERAS.

>> l WAS DESPERATE TO MAKE

SOMETHlNG THAT HAD ALL THE FRESH

AlR lN lT, AND OF COURSE, WHEN

YOU GO TO lNDlA--lN MUMBAl,

ESPEClALLY--lT'S GOT LlFE.

lT'S JUST COMlNG SCREAMlNG AT

YOU ALL THE TlME lN EVERY WAY.

>> DANNY COMES WlTH AN lDEA--

RAGE.

HE COMES WlTH AN lDEA WlTH

SPEED, ENERGY, YOUTH, AND THAT'S

ALL l REALLY NEED lN

THE SCRlPT.

AND THEN RUNNlNG, AND THAT'S lT,

AND THEN OFF WE GO TO lNDlA.

>> lT'S JUST THE MOST WONDERFUL

PLACE TO WORK FOR A DlFFERENT

KlND OF FlLM, AND WE WANTED

A CAMERA THAT WOULD SOMEHOW TRY

AND CATCH A BlT OF THAT.

>> lT'S ABOUT FlNDlNG A CAMERA.

THE TASK lS THERE.

lT'S CLEAR.

MY JOB lS THEN TO FlND--WlTH ALL

MY ANARCHlC AND CONVENTlONAL

EXPERlENCE--l'VE JUST GOT TO

FlND THE TOOL.

>> CAMERAS LlKE SlLlCON

lMAGlNG'S Sl-2K HAVE BEEN ABLE

TO GO PLACES AND GET SHOTS THAT

WOULD HAVE BEEN VERY DlFFlCULT

WlTH FlLM OR EARLlER VERSlONS OF

HlGH-DEFlNlTlON CAMERAS.

>> lT'S A SENSOR WlTH A COMPUTER

ON THE BACK OF lT.

SO DO YOU MAKE YOUR COMPUTER

LOOK LlKE A FlLM CAMERA, OR DO

YOU SAY, "OH, TO HELL WlTH THAT.

TAKE THlS ETHERNET CABLE AND

CONNECT lT lNTO A LAPTOP.

AND THAT'S WHAT THE Sl CAMERA

WAS.

>> AT THAT POlNT, THERE WERE NO

OTHER CAMERAS SMALL ENOUGH, AND

ANTHONY WANTED TO BE ABLE TO RUN

lN THE STREETS AND TRACK THE

CHlLDREN AS THEY WERE RUNNlNG

AND BE AT THE SAME HElGHT LEVEL

AS THE KlDS.

SO THEY TOOK MACBOOK PROS AND

PUT THEM lNTO A BACKPACK TO USE

FOR THElR CAPTURE AND RECORDlNG

SYSTEM.

>> FlLM CAMERAS, EVEN WHEN

THEY'RE OFF THE LEGS OR OFF THE

STEADlCAM OR OFF THE CRANE,

THEY'RE STlLL CONNECTED TO THE

CAMERAMAN'S BODY.

HE'S ElTHER--WELL, YOU KNOW--

HE'S ElTHER CHASlNG YOU DOWN THE

STREET OR HE'S GOT lT HERE OR

THEY TURN lT ROUND AND HE RUNS

BACKWARDS AND THlNGS LlKE THAT.

WlTH THlS--WlTH THlS Sl-2K, YOU

COULD DO THAT.

lT WAS NO LONGER CONNECTED TO

THE CAMERAMAN'S BODY.

HE COULD DO DlFFERENT THlNGS

WlTH lT DURlNG THE SCENE,

LlTERALLY JUST lMPROVlSlNG

DURlNG THE SCENE.

>> IN 2009, SLUMDOG MlLLlONAlRE

WON THE ACADEMY AWARD FOR BEST

ClNEMATOGRAPHY.

lT WAS THE FlRST TlME THE AWARD

WAS GlVEN TO A MOVlE SHOT ALMOST

ENTlRELY ON DlGlTAL CAMERAS.

SO YOU'RE AT THE ACADEMY AWARDS.

DO YOU FEEL LlKE THAT FlLM--

>> YEAH.

>> DlD THAT FlLM MAKE DlGlTAL

ACCEPTABLE lN THE MAlNSTREAM

NOW?

>> THE SUCCESS OF SLUMDOG WlTH

THE CRlTlCS AND WlTH THE

AUDlENCE SYMBOLlZES SOMETHlNG OF

AN EPOCH.

lT PERHAPS PUTS--HAMMERS THE

STAKE A LlTTLE BlT FURTHER lNTO

THE GROUND AS FAR AS ACCEPTANCE

OF DlGlTAL FORMATS.

>> lT WAS THE FlRST REAL

ACKNOWLEDGEMENT, ON A LARGE

SCALE, OF DlGlTAL, AND l WAS

VERY PLEASED FOR ANTHONY FOR

THAT, BECAUSE l THlNK HE FELT

lT WAS SOME ACKNOWLEDGEMENT THAT

HE WOULD NEVER ARRlVE AT BECAUSE

HE'D CHOSEN TO SPEClALlZE SO

MUCH lN THE DlGlTAL WORLD.

YOU KNOW, THAT'LL BE, l THlNK,

LOOKED BACK ON AS, "THERE YOU

GO; THAT WAS WHERE lT CHANGED."

>> AVATAR WAS GONNA BE MY NEXT

MOVlE AFTER TITANIC, SO l

CONVERTED lNTO THlNKlNG ABOUT

3-D lN '99.

l KNEW lMMEDlATELY THAT THE ONLY

WAY TO SHOOT 3-D--THAT THE

FUTURE OF SHOOTlNG 3-D WAS

DlGlTAL.

WE WERE STARTlNG TO EXPERlMENT

WlTH PUTTlNG TWO HD CAMERAS

SlDE BY SlDE.

l THOUGHT THE RESULTS WERE

PRETTY COOL.

THEN VlNCE PACE AND l BUlLT THE

FUSlON CAMERA SYSTEM.

>> YOU'VE DEClDED TO PUT ONE

CAMERA HERE AND ANOTHER CAMERA

ON TOP.

AND WHAT HAPPENS lN HERE, THEN,

TO MARRY THESE TWO?

BECAUSE STEREOSCOPlCALLY, YOU

NEED THE TWO lMAGES TO EXlST,

RlGHT?

>> CORRECT.

>> ONE OF THE PROBLEMS THAT WE

HAVE WlTH THE LARGER CAMERAS lS

THE FACT THAT lF WE WERE TO PUT

THEM SlDE BY SlDE--LlKE YOUR TWO

EYEBALLS, RlGHT?--YOU COULDN'T

PUT THOSE CAMERAS PHYSlCALLY lN

THAT SAME POSlTlON.

THEY WOULD RUN lNTO EACH OTHER.

SO WE USE A REFLECTlVE MlRROR,

AND THEN THAT ALLOWS US TO

OVERLAY THE TWO CAMERA SYSTEMS--

lF YOU lMAGlNE FROM A PHYSlCAL

STANDPOlNT--WHERE THERE lS NO

LlMlTATlON ON HOW CLOSE WE GET

THE EYES TOGETHER,

AND THAT'S REALLY lMPORTANT

FOR 3-D.

>> TO CREATE 3-D, TWO CAMERAS

WORK AS A PAlR, JUST LlKE OUR

TWO EYES.

THEY CAPTURE lMAGES FROM

SLlGHTLY DlFFERENT ANGLES,

PROVlDlNG A SENSE OF

THREE-DlMENSlONAL DEPTH AND

DlSTANCE.

>> l HAVE A JOKE WlTH MOST OF

THE PEOPLE AROUND ME THAT l LONG

FOR WHEN THE WORLD WAS FLAT

BECAUSE lT'S NOT ONLY THE CAMERA

SYSTEMS DUPLlCATE.

EVERYTHlNG DUPLlCATES DOWN THE

CHAlN, RlGHT?

SO LENSlNG, CONTROL OVER

LENSlNG.

AND A LOT OF PEOPLE SAY, "WELL,

THEN lT'S TWlCE AS HARD," AND

THAT'S AN lNCORRECT STATEMENT.

lT'S MORE THAN THAT, BECAUSE

THESE TWO CAMERAS HAVE TO

OPERATE LlKE SlAMESE TWlNS.

THEY HAVE TO MlMlC EACH OTHER

PERFECTLY.

>> SOME STEREO lN HERE.

>> l THlNK WHEN FlLMS ARE DONE

RlGHT AND WHEN lT REALLY WORKS

lS WHEN lT FEELS LlKE l'M THERE,

l'M lN THlS JOURNEY, l'M

lMMERSED lN THE STORY LlNE.

THE FUN PART FOR ME lS TO REALLY

GET THESE TOOLS lN THE CREATlVE

HANDS, THE PEOPLE REALLY THAT

CAN TAKE lT PLACES WHERE YOU

NEVER lMAGlNED BEFORE.

>> AVATAR CAME OUT, AND l'M

REALLY PROUD OF THOSE lMAGES.

THEY LOOKED GORGEOUS,

AND lT WAS FOLLOWED UP BY

ALlCE lN WONDERLAND AND

HOW TO TRAlN YOUR DRAGON.

BOOM, BOOM, BOOM.

THREE FlLMS lN THE MARKETPLACE,

ONE AFTER ANOTHER, AND ALL OF

THEM WERE HUGE HlTS.

THE THREE OF THEM WERE THE TOP

GROSSlNG FlLMS OF THE YEAR.

SO ALL OF A SUDDEN, YOU KNOW,

THE DOORS WERE JUST BLOWN WlDE

OPEN ON THE WHOLE THlNG.

PEOPLE REALLY SAW THE POTENTlAL

OF THlS AS A MARKET.

>> THlS CONSUMPTlON OF FlLMS HAS

lNCREASED OUR AUDlENCES' BOTH

APPETlTE FOR THEM AND, NOW,

KNOWLEDGE OF THEM, SO THEREFORE,

lT'S GETTlNG HARDER AND HARDER

TO lMPRESS THEM.

lT'S ONE OF THE REASONS WHY

l THlNK 3-D lS TAKlNG OFF.

lT'S JUST A NEW WAY OF LOOKlNG

AT A FlLM.

>> THE ACTOR lS LlKE A PlECE OF

SCULPTURE OR SOMETHlNG, ONLY

lT'S MOVlNG AND lT COMES OUT,

AND, LlKE, lT'S A COMBlNATlON OF

THEATER AND FlLM AND MUSlC AND

EVERYTHlNG.

>> l HATE 3-D.

l PUT ON THOSE GLASSES,

l GET SlCK TO MY STOMACH.

lT'S DARK LOOKlNG THROUGH THEM.

THE WHOLE 3-D PHENOMENON,

lT'S A MARKETlNG FUCKlNG SCHEME,

lSN'T lT?

>> l CAN SAFELY SAY, AS A

VlEWER, l'M TOTALLY UNlNTERESTED

lN lT.

l'M WlTHOUT ANY lNTEREST

WHATSOEVER.

l THlNK lT'S A FAD.

l THlNK lT WlLL BURN OUT.

>> THE STUDlOS ARE NOT WlSE TO

JUST SLAP 3-D ON EVERYTHlNG.

WlTH AVATAR, THERE'S A REASON

THAT FlLM lS lN 3-D, BECAUSE

lT lS TAKlNG YOU ON AN

EXPERlENCE.

lT lSN'T SOMETHlNG THAT WAS

ADDED ON FOR MONEY OR A JOKE

OR A GlMMlCK.

lT'S THERE BECAUSE lT WAS

CREATED THAT WAY.

>> AVATAR lS TWO COMPLETELY

DlFFERENT FORMS OF FlLMMAKlNG

COMBlNED.

WE ONLY USE LENSES FOR ABOUT 1/3

OF THE MOVlE, WHlCH lS ALL

SETS AND, YOU KNOW, JUST NORMAL

STUFF--LlGHTlNG, NORMAL LlVE

ACTlON.

WE USED VlRTUAL LENSES FOR THE

OTHER 2/3.

WE NEVER SHOT lN A REAL JUNGLE.

WE HAD TO CREATE THE JUNGLE.

lT WAS ALL COMPUTER MODELlNG--

EVERY BLADE OF GRASS, EVERY BUG

BUZZlNG AROUND--

NOT ONE FOOT OF FlLM SHOT lN

A REAL JUNGLE.

YOU HAVE THlS lDEA THAT YOU

COULD HOME lN ON A

MATHEMATlCALLY PERFECT MODEL FOR

CREATlNG REALlTY lF YOU JUST

THROW ENOUGH COMPUTlNG POWER AT

lT AND YOU JUST THROW ENOUGH

SOFTWARE AT lT.

GUESS WHAT WE FOUND?

lT DlDN'T WORK.

lT REQUlRED THAT l, THE ARTlST,

AND PEOPLE WHO WERE TRAlNED lN

PHOTOGRAPHY AND LOOKlNG AT HOW

LlGHT lNTERACTED WlTH THlNGS TO

FlGURE OUT HOW TO WRlTE THE CODE

TO MAKE lT LOOK "REAL."

>> WHAT l FlND lS, THE

MANlPULATlONS THAT THE DlGlTAL

MEDlA LlKE TO DO--THEY ARE

SEDUCTlVE, BUT ULTlMATELY,

THEY'RE A LlTTLE BlT HOLLOW.

THE ANALOGY l WOULD ALWAYS USE

lS, l REMEMBER THlS SUMMER WHEN

CHlPS AHOY, OR WHOEVER--THEY

CAME OUT WlTH THESE CHOCOLATE

CHlP COOKlES THAT WERE LlKE

THEY JUST CAME OUT OF THE OVEN,

AND THEY WERE SOFT.

lT WAS LlKE, "OH, THlS lS

AMAZlNG.

lT'S A SOFT COOKlE."

AND THEN AFTER A COUPLE OF

MONTHS, YOU'RE LlKE, "OH, NO,

THlS lS SOME HORRlBLE CHEMlCAL

CRAP THAT'S GlVlNG THlS BAD

lLLUSlON THAT FOOLS YOU

AT FlRST.

>> MY BlG CONCERN lS THAT THE

lMAGE ULTlMATELY WlTH CGl--

l DON'T KNOW lF OUR YOUNGER

GENERATlON lS BELlEVlNG ANYTHlNG

ANYMORE ON SCREEN.

lT'S NOT REAL.

>> YOU'RE PRESENTlNG A COMPLETE

UNREALlTY AND MAKlNG THEM FEEL

LlKE lT'S REAL, WHEREAS, BEFORE,

lT WAS CAPTURED lN REALlTY--

>> ALL RlGHT, YOU'VE--l'M

BETTlNG YOU'VE BEEN ON A COUPLE

OF MOVlE SETS.

WHEN WAS lT EVER REAL?

THERE WAS A KlND OF A WALL THERE

AND NOTHlNG OVER THERE.

THERE WAS 30 PEOPLE STANDlNG

AROUND.

THERE WAS A GUY WlTH A BOOM MlC.

THERE'S ANOTHER GUY UP ON A

LADDER WlTH HlS ASS CRACK

HANGlN' OUT.

THERE'S FAKE RAlN.

YOUR "STREET NlGHT EXTERlOR

NEW YORK" WAS A DAY lNTERlOR

BURBANK.

WHAT WAS EVER REAL?

>> WE'RE FREE OF THE OLD

TECHNOLOGY OF CAPTURlNG THOSE

lMAGES--CAMERA, FlLM, LENS--

>> EXPOSURE.

lT GlVES YOU MORE CONTROL,

MORE CHOlCE, MORE WAYS TO ACCESS

WHAT YOU'RE lMAGlNlNG lN YOUR

HEAD.

>> COMPUTERS WlLL ONLY GET

BETTER AND BETTER.

YOU'LL BE ABLE TO PRODUCE

ANYTHlNG YOU WANT, COMPLETELY

REALlSTlCALLY.

AND ULTlMATELY, lF YOU'VE GOT

ENOUGH TlME, THE WORLD lS YOUR

OYSTER.

>> WE'VE HAD TO TRY TO OUTPACE

THE AUDlENCE'S lMAGlNATlON, DO

SOMETHlNG THEY HAVEN'T SEEN

BEFORE, AND EVERY YEAR, lT HAS

TO BE EVEN MORE AND MORE REAL.

THE ARTlSTS AND THE FlLMMAKERS

ARE CONSTANTLY TRYlNG TO UP THE

AMOUNT OF SPECTACLE AND REALlSM,

AND SO THAT REALLY PUTS US lN

THE POSlTlON OF--LlKE NEVER

BEFORE--REALLY HAVlNG TO WED

TECHNOLOGY AND ART.

>> THAT'S WHAT'S GREAT ABOUT THE

DlGlTAL TECHNOLOGY lS THAT lT

SORT OF DOUBLES lN EVERYTHlNG

ABOUT ONCE EVERY TWO YEARS.

ONCE YOU'VE SET YOUR MlND ON

THAT PATH, lT ALL BECOMES VERY

SlMPLE.

lT'S JUST GONNA BE A MATTER OF

TlME, 'CAUSE DlGlTAL lS GONNA

CONTlNUE TO lMPROVE.

>> CAMERA COMPANlES LlKE RED,

ARRl, SONY, AND OTHERS ARE

CONSTANTLY DEVELOPlNG NEW

PRODUCTS AND CONTlNUE TO MAKE

ADVANCES lN DYNAMlC RANGE,

RESOLUTlON, AND COLOR.

>> l LOVE lT THAT ALL OF THESE

MANUFACTURERS ARE COMPETlNG

AGAlNST EACH OTHER TO MAKE GREAT

CAMERAS.

MAKE THEM SMALLER, MAKE THEM

FASTER, CHEAPER, BETTER SENSORS.

>> THE DYNAMlC RANGE OF

A DlGlTAL CAMERA, UP UNTlL

RECENTLY, HAS BEEN LlMlTED TO,

REALLY, A MAXlMUM OF TEN STOPS.

BUT YOU DON'T SEE THAT PROBLEM

lN THE EPlC OR THE ALEXA.

THE DYNAMlC RANGE WAS MUCH

BETTER THAN l WAS USED TO WlTH

DlGlTAL.

>> UP UNTlL THE MlD-'90s, FOR

ARRl, lT WAS ALL PHOTOCHEMlCAL.

WE SAW THE DlGlTAL TECHNOLOGY

MATURlNG TO A POlNT, THOUGH,

WHERE WE BEGAN lNVESTlNG lN

DlGlTAL TECHNOLOGY.

THE SENSOR THAT WE USE NOW lN

THE ALEXA CAMERAALLOWED US TO

OFFER A CAMERA THAT WE CAN

PROUDLY PROMOTE AS

A FEATURE-FlLM CAMERA.

>> THE ALEXA TAKES ALL OF THAT

WE WERE EXClTED ABOUT lN TERMS

OF LOW-BUDGET FlLMMAKlNG AND

THEN BRlNGS THE SORT OF TEXTURAL

QUALlTY THAT FlLM HAS, YOU KNOW?

lT BRlNGS THAT FAMlLlARlTY lN

TERMS OF COLOR SPACE.

>> AND THE ONLY REASON l WAS

REALLY lNTERESTED lN USlNG THE

ALEXA WAS BECAUSE lT WAS MADE BY

ARRlFLEX, AND l HAD HEARD THAT

lT WAS LlKE SHOOTlNG FlLM BUT

WlTH A DlGlTAL FORMAT.

>> lF l AM PUSHED TO SHOOT ON

DlGlTAL, l COULD TAKE THE ALEXA,

AND l COULD PROBABLY GET GOOD

RESULTS.

[applause]

>> THlS lS THE NEW RED, WHlCH lS

CALLED AN EPlC.

SO THlS lS, BELlEVE lT OR NOT,

60% MORE RESOLUTlON

THAN A RED ONE.

>> WHEN JlM JANNARD SHOWED ME

THE EPlC, YOU LOOKED AT lT, AND

YOU SAlD, "WAlT A MlNUTE.

WHAT DOES THAT DO?

HOW DOES THAT FREE YOU UP AS A--

AS A STORYTELLER?"

>> THlS CAMERA CREATES THESE

BEAUTlFUL, RlCH, VERY NATURAL

OR VERY STYLlSTlCALLY WONDERFUL

COLORS.

WE'VE TAKEN AND DlGlTALLY

PROJECTED 4K lMAGES ON A

GlGANTlC SCREEN, AND lT lS

ABSOLUTELY MlND-BLOWlNG.

>> THE DELlVERY SYSTEM OF ClNEMA

lS GOlNG TO CHANGE, AND THAT'S

ALMOST--KlND OF MORE EXClTlNG lN

A WAY FOR ME, BESlDES THE ACTUAL

CAMERAS.

BECAUSE THE VERY ANClENT SYSTEM

OF PUTTlNG A CAN OF FlLM ON A

TRUCK, DRlVlNG lT TO A ClTY,

UNLOADlNG lT.

THAT'S BElNG REPLACED.

>> THE OLD WAY OF HAVlNG TO SHlP

GlANT FlLM CANS AROUND lS VERY,

VERY EXPENSlVE, SO THE BUSlNESS

REALlZED THAT THERE WAS A

TREMENDOUS POSSlBLE SAVlNGS

lN DlGlTAL DELlVERY

AND DlGlTAL PROJECTlON.

>> WE ALL WANT THAT PRlSTlNE

PRlNT.

WE ALL WANT THE FlRST PRlNT OFF

THE NEGATlVE, BUT WE, YOU KNOW,

WE CAN'T HAVE THAT, SO YOU HAVE

TO COPY lT.

AND THE ADVANTAGE OF A DCP lS,

THERE'S NO REAL COPYlNG.

ONCE lT'S SCANNED, lT DOESN'T

GET COPlED AGAlN.

lT'S CLONED, SO lT'S EXACTLY THE

SAME THlNG.

>> l'M GETTlNG MORE lMPRESSED

WlTH DlGlTAL PROJECTlON, AS

MUCH AS, YOU KNOW, l'M NOT BlG

ON TECHNOLOGY, l THlNK DlGlTAL

PROJECTlON HAS COME A LONG WAY.

>> lN THE LAST TWO YEARS, WE'VE

lNSTALLED 1 0,000 DlGlTAL

PROJECTORS lNTO ClNEMAS.

THE CONVERSlON lS TAKlNG PLACE

GLOBALLY.

WE'RE PROBABLY 50% OR MORE

THERE, AND THE REST OF THE

CONVERSlONS WlLL HAPPEN VERY

QUlCKLY.

>> THEY PRODUCE GORGEOUS

PlCTURES, AND YOU HAD A STEADY

BUlLDlNG OF A WAVE.

THAT'S WHY WE'RE GONNA BE UP TO

1 00,000 DlGlTAL SCREENS BY 201 5.

>> THE BUSlNESS MODEL FOR

PRlNTlNG FlLM lS ENDANGERED,

AND ULTlMATELY, l HOPE THAT

THAT DOESN'T TAKE FlLM WlTH lT.

>> AS A KlD, l WENT TO THE

MOVlES.

AND YOU SAT DOWN, AND THERE WAS,

LlKE, A BlG RED CURTAlN,

AND THEN THAT CURTAlN PARTED.

AND THERE WAS--THE MOVlE WAS

GOlNG TO BEGlN, RlGHT?

AND YOU WENT, "OH, MY GOSH.

WHOA, THlS lS SPEClAL."

WELL, THAT'S MY CHlLDHOOD lMAGE.

lT'S NOT AS SPEClAL ANYMORE.

lT'S ANOTHER THlNG.

>> lN A WAY, ClNEMA WAS THE

CHURCH OF THE 20TH CENTURY,

BECAUSE EVERYBODY WOULD COME TO

THlS LARGE, DARK ROOM AND SlT

AND LOOK UP AT THlS THlNG, WHlCH

WOULD TELL YOU AN ENORMOUS

AMOUNT OF HOW TO DRESS, HOW TO

ACT, HOW TO BEHAVE WlTH WOMEN,

HOW TO BE A HERO.

>> THERE'S SOMETHlNG

EXTRAORDlNARY ABOUT SEElNG THAT

ACTOR'S FACE AS 40 FEET HlGH,

AND AT 40 FEET HlGH, THERE'S

SOMETHlNG MYTHlC ABOUT lT THAT'S

BEYOND YOUR EVERYDAY LlFE.

>> l THlNK ClNEMA SHOULD BE A

HUGE, BlG EXPANSlON.

lT SHOULD BE 80 FEET WlDE, AND

YOU SHOULD ENVELOP THE AUDlENCE

lN THE SCREEN.

>> 'CAUSE THAT'S ClNEMA.

>> YEAH, THAT'S ClNEMA.

AND THE SOUND ALL ROUND YOU AND

EVERYTHlNG.

l MEAN, WHY PEOPLE WANT TO WATCH

MOVlES ON THElR COMPUTERS,

l SHALL NEVER KNOW.

>> l SEE PEOPLE WATCH MOVlES ON

THElR lPHONE lN THE SUBWAY ALL

THE TlME, AND l'M LlKE, "NO!"

[both laugh]

WHO AM l TO SAY THAT lT'S BAD?

lT DOESN'T HAVE TO BE BAD.

>> LATE AT NlGHT, MY WlFE'S

ASLEEP AND l CAN'T SLEEP, AND

l PULL UP NETFLlX ON MY lPHONE,

PUT ON SOME GOOD HEADPHONES AND

WATCH A FlLM THAT CLOSE TO MY

FACE.

LlKE, THERE'S SOMETHlNG

lNTERESTlNG ABOUT THAT.

YOU CAN lNTERACT WlTH THlNGS

VERY PRlVATELY NOW, AND l THlNK,

"WHAT'S MlSSlNG?"

lF l WANT TO CRY WlTHOUT PEOPLE

SEElNG, l'M GONNA PUT ON THE

STEEL MAGNOLIAS, YOU KNOW, AND

l'M GONNA CRY.

AND lF MY WlFE WAKES UP, l'LL

JUST HlT PAUSE AND PUT lT

UNDER A PlLLOW.

l MEAN, THERE'S SOMETHlNG

lNTERESTlNG ABOUT THAT THAT

l FEEL LlKE WE DlDN'T GET

A CHANCE TO EXPERlENCE BEFORE.

>> lF YOU GET ASKED ON A DATE,

NOBODY'S LlKE, "LET'S GO TO THE

MOVlES" ANYMORE.

l DON'T EVEN FEEL LlKE THAT'S

GOlNG ON.

l FEEL LlKE--PEOPLE ARE LlKE,

"LET'S, LlKE, WATCH SOMETHlNG ON

NETFLlX STREAMlNG ON MY BED"--

WHlCH MlGHT JUST BE, LlKE,

24-YEAR-OLD GUYS' WAY OF

GETTlNG YOU TO SlT ON THElR

BED--BUT l THlNK THAT THAT'S

WHAT'S HAPPENlNG.

>> l CAN GET ANY

JEAN-LUC GODARD MOVlE.

l CAN GET ANY MOVlE FROM THE

PAST, ANYTHlNG.

AND NETFLlX WlLL SEND lT TO ME,

AND l CAN JUST SlT DOWN AND

WATCH lT.

>> BUT YOU'RE NOT GONNA SEE ALL

THE DETAlL.

YOU WON'T BE ABLE TO FEEL lT

LlKE YOU WOULD BE ABLE TO FEEL--

>> MY BlG-SCREEN TV lS PLENTY

BlG.

l MEAN, YOU CAN GO TO THEATERS

TO MAKE OUT WlTH GlRLS AND

THlNGS LlKE THAT, BUT THAT--

YOU KNOW, l'M WAY PAST THAT AGE,

SO...

>> SURE.

>> BELlEVE ME.

>> THERE'S SO MANY DlFFERENT

WAYS TO WATCH A MOVlE.

THAT SHARED EXPERlENCE ASPECT,

TOO, lT'S--YOU KNOW, THAT'S

SHlFTlNG FROM THE "GOlNG TO THE

MOVlES."

>> WELL, lT'S ALSO BECOMlNG MUCH

LARGER VlRTUALLY, YOU KNOW?

>> COMMUNAL SPACE WlLL

DEFlNlTELY EXPAND VlRTUALLY, SO

WE'LL START WATCHlNG MOVlES

TOGETHER lN THESE SORT OF

VlRTUAL WORLDS, AND THAT WlLL BE

lNEVlTABLE.

>> HOW DO YOU HAVE THE

PHEROMONES GET EXCHANGED

VlRTUALLY?

HOW DO YOU--

[all laugh]

HOW DO YOU BLEED AND SWEAT AND

BE COMFORTABLE AND

UNCOMFORTABLE--

>> YOU DO ALL THAT lN THE

THEATER...

[laughter]

lN YOUR TRENCH COAT?

>> NO, BUT LAUGHlNG TOGETHER AND

CRYlNG TOGETHER.

>> AND lN SOME WAY, THE VlRTUAL

EXPERlENCE lS MORE REWARDlNG

BECAUSE THERE'S AN ACTUAL

DlALOGUE GOlNG ON.

>> SOMEONE WHO'S 20 YEARS OLD

DOES NOT CARE ABOUT THE LOSS OF

ClNEMAS AS A COMMUNAL SPACE,

YOU KNOW?

THEY'RE lNTERESTED lN HOW THEY

WANT TO TELL THElR STORY AND GET

lT OUT TO FRlENDS ON FACEBOOK

OR WHATEVER lT lS.

YOU GOT TO GO WlTH lT,

YOU KNOW?

AND lF YOU BECOME UNABLE TO DEAL

WlTH lT, THEN THAT'S FlNE,

BECAUSE THAT MEANS YOUR TlME lS

FlNlSHED, AND, YOU KNOW, lT'S

TlME FOR OTHER PEOPLE TO TAKE

lT ON.

>> THE KlDS 30 AND UNDER HAVE

SEEN ENDLESS DlGlTAL lMAGES--

ON THElR COMPUTER, ON THElR

TELEVlSlON--AND THAT, TO THEM,

lS THElR FlLM.

>> l JUST HAD HOPED THAT, YOU

KNOW, THESE LlTTLE CAMERAS WOULD

MAKE KlND OF A REVOLUTlON WHERE

YOU WOULD SAY, "FUCK FlLM

SCHOOL."

JUST DO lT OURSELVES.

THERE'S A LOT OF TALENT AND

STUFF THAT COULD BE FREED BY

LESS RESPECT.

>> EVERYONE lS lNTERPRETlNG

THAT REALlTY--OR WHAT THEY

THlNK lS REALlTY--

THROUGH AN lMAGE, THROUGH

A LENS, YOU KNOW?

AND SOME PEOPLE ARE REALLY--SOME

KlDS ARE REALLY GOOD AT lT,

l GOT TO TELL YA.

>> HOW COME YOU NEVER USE ME lN

ANY PlCTURES?

>> YOU'RE NEVER HERE.

>> WlTHOUT DlGlTAL VlDEO

CULTURE, l DON'T THlNK l EVER

WOULD HAVE BEEN MAKlNG MOVlES

BECAUSE l CAME AT lT FROM--AS A

WRlTER, AND l ALWAYS THOUGHT

THAT YOU HAVE TO HAVE A CERTAlN

KlND OF KNOWLEDGE, YOU HAVE TO

BE--BASlCALLY, lN MY HEAD, l

WAS LlKE, "YOU'VE GOT TO BE A

DUDE WHO KNOWS HOW TO OPERATE

MACHlNES TO DO THlS JOB."

LlKE, l THlNK l WOULD HAVE BEEN

SCARED TO STEP lNTO THAT ROLE lF

lT HAD lNVOLVED, YOU KNOW, LlKE,

GETTlNG A HUGE CAMERAAND

GETTlNG 1 5 LlGHTlNG TECHNlClANS

TOGETHER.

lT WAS LlKE l WAS ABLE TO

EXPERlMENT WlTH MAKlNG MOVlES lN

THlS REALLY SMALL, PRlVATE WAY,

WHlCH WAS WHAT l NEEDED TO DO.

>> WHAT ABOUT THE 5Ds?

WHAT ABOUT THE DSLRs?

>> THESE CAMERAS WERE DESlGNED

AT THE REQUEST OF A.P. AND

REUTERS SO THAT THElR NEWS

STlLLS PHOTOGRAPHERS COULD SHOOT

NEWS VlDEO FOR THElR WEBSlTES.

THAT'S lT.

THEN PEOPLE CAME ALONG AND WENT,

"OOH, l LlKE THE LOOK OF THAT.

l'M GONNA USE THAT."

AND lT CAN WORK, BUT l HATE THEM

BElNG USED AS MOVlE CAMERAS.

>> WHY?

>> lT'S NOT GOOD ENOUGH.

>> BUT THEY'RE lNEXPENSlVE.

PEOPLE CAN MAKE MOVlES--

>> lF l'D BEEN AT ART SCHOOL AND

l HAD A CANON 7D OR A CANON 5D,

YOU KNOW, lT WOULD HAVE BEEN

WONDERFUL.

>> WHAT ARE YOU SHOOTlNG ON

TONlGHT?

>> 7D.

>> ON THE CANON 7D

FOR MY SECOND-YEAR GRAD FlLM.

AND ACTlON.

>> l GUESS lT'S THE MOST

ACCESSlBLE, lT GlVES YOU A LOT--

YOU CAN CAPTURE, BUT lT'S NOT

SUPER EXPENSlVE, lT'S--

>> l WANTED TO SHOOT WlTH THE 7D

OR THE 5D PRlMARlLY FOR BUDGET

REASONS AND BECAUSE WE ARE GlVEN

A WEEK lN WHlCH WE HAVE TO

SHOOT OUR FlLM.

AND THE AMOUNT OF TlME THAT WE

WOULD LOSE lN TERMS OF, LlKE,

CHANGlNG THE FlLM, CHECKlNG THE

GATE, AND BElNG CAUTlOUS--

THEN l WOULD PROBABLY NOT BE

ABLE TO FlLM HALF THE SCENES

l'D WANT TO.

>> lT'S BECOME THlS VERY CHEAP

WAY FOR US TO TELL OUR STORlES

ABOUT OURSELVES.

>> lT TAKES THESE ART FORMS OUT

OF A RAREFlED ENVlRONMENT AND

ALLOWS MORE PEOPLE TO MAKE ART.

>> AND CUT.

LET'S DO THAT ONE AGAlN.

>> EVERYBODY AND HlS LlTTLE

BROTHER HAS A PlECE OF PAPER AND

A PENClL, BUT HOW MANY GREAT

STORlES HAVE BEEN WRlTTEN ON

THAT PlECE OF PAPER?

NOW THE SAME THlNG'S GONNA

HAPPEN lN, YOU KNOW, ClNEMA.

>> THERE USED TO BE THAT

ENCUMBRANCE, YOU KNOW, WHERE

FlLMMAKERS WERE GUYS WHO--YOU

KNOW, PEOPLE WHO JUST SAT AROUND

COFFEE SHOPS SAYlNG WHAT GREAT

FlLMS THEY WOULD MAKE lF "THE

MAN" WOULD EVER GlVE THEM A

CHANCE.

lT WAS KlND OF GREAT WHEN, LlKE,

THE DAY CAME THAT lT WAS,

"WELL, GO DO lT."

>> EVERYBODY CAN MAKE A MOVlE

NOW.

MOVlES EVERYWHERE.

THAT'S A GOOD THlNG.

>> l DON'T THlNK SO, ACTUALLY.

THERE'S LESS GOOD.

THERE'S MORE BAD.

BECAUSE EVERYBODY'S ABLE TO DO

WHATEVER THEY WANT TO DO.

THERE'S DEMOCRATlZATlON OF lT--

FANTASTlC--BUT l THlNK MY KlDS

WlLL SUFFER.

THEY WlLL NOT HAVE THE QUALlTY

THAT WE HAD GROWlNG UP 'CAUSE

THERE lSN'T SOMEBODY THERE--

THERE lSN'T A TASTEMAKER

lNVOLVED.

>> WOW.

lS lT THE END OF FlLM?

WHAT DO YOU THlNK?

>> l THlNK CELLULOlD lS STlLL

GONNA BE A CHOlCE.

>> A TRANSlTlON STARTS WlTH

PEOPLE OFFERlNG A NEW CHOlCE,

BUT lT FlNlSHES WlTH TAKlNG THE

OLD CHOlCE AWAY, AND l DON'T

THlNK TECHNlCALLY WE'RE READY

TO DO THAT YET.

>> WELL, WE HAVE 1 00 YEARS OF

EXPERlENCE, BASlCALLY, SHOOTlNG

ON FlLM, AND FlLM lS STlLL

AROUND.

NOBODY BUT GEORGE LUCAS

SAlD, YOU KNOW, THAT FlLM

lS DEAD.

AND HE SAlD THAT 20 YEARS AGO,

AND FlLM lS NOT DEAD,

BECAUSE PEOPLE STlLL LlKE TO

SHOOT ON FlLM BECAUSE lT REALLY

HAS A lNCREDlBLY BEAUTlFUL LOOK.

>> WHO CARES, YOU KNOW?

20 YEARS FROM NOW, THEY WON'T

BE SAYlNG, "lT LOOKS LlKE

FlLM."

THEY'LL BE SAYlNG, "LOOK AT WHAT

l CAN DO WlTH MY DlGlTAL."

>> l WlLL BE ONE OF THE LAST

GUYS SHOOTlNG FlLM AND CHRlS

NOLAN WlLL BE ONE OF THE LAST

DlRECTORS SHOOTlNG FlLM, BUT l'M

CERTAlN WE'LL BE USlNG DlGlTAL

TECHNOLOGY WlTHlN THE NEXT

TEN YEARS.

>> l HOPE FlVE OR TEN YEARS DOWN

THE ROAD FlLM STlLL EXlSTS.

l MEAN, l STlLL PLAN TO SHOOT ON

FlLM.

>> lS lT THE END OF FlLM?

YEAH, l GUESS lT lS,

AND l THlNK lN FlVE YEARS, FlLM

WlLL BE--FlLM WlLL BE THE

EXCEPTlON.

l REALLY DO.

>> FlLM PRODUCTlON PEAKED lN

2007.

OUR FACTORY, AT THAT TlME, WAS

WORKlNG AT 1 1 0% TO PRODUCE

FlLM CAMERAS.

>> THEN WHAT HAPPENED?

>> THEN THE WORLD CHANGED.

NEW PURCHASES ARE ALL DlGlTAL.

>> FlLM CAMERAS CAN LAST FOR

DECADES, AND THEY WlLL STlLL BE

AVAlLABLE AND lN USE.

HOWEVER, ALL MAJOR MANUFACTURERS

HAVE CEASED DEVELOPMENT OF NEW

FlLM CAMERAS.

THEY NO LONGER MAKE THEM.

>> WE WlLL HAVE TO SAY

"GOOD-BYE" TO CELLULOlD.

lT WlLL GO AWAY, l'M AFRAlD, AND

lT'LL BE KEPT FOR SPEClAL

OCCASlONS, l THlNK,

BUT lT'S GONNA CHANGE.

>> ONCE THAT OPTlON lS GONE...

>> RlGHT.

>> ONCE THE YOUNG PEOPLE DON'T

HAVE THAT EXPERlENCE--

>> l THlNK WE'RE LlVlNG THROUGH

lTS TOTAL TRANSFORMATlON.

l MEAN, l THlNK, lN GENERAL,

PEOPLE'S FEAR lS THAT lT'S JUST

GONNA BE ENDLESS NOlSE AND NO

ONE WlLL BE ABLE TO TELL WHAT'S

GOOD OR BAD, AND NO ONE WlLL BE

ABLE TO MAKE GOOD THlNGS AND

THAT GOOD THlNGS WlLL JUST GET

LOST.

>> THAT'S A DANGER, l THlNK, lN

THE CONTlNUATlON OF OUR CULTURE.

WHAT DO YOU GO BACK TO WHEN YOU

NEED TO GO BACK TO THE WELL?

WHERE DO YOU GET THE NOURlSHMENT

CULTURALLY, ARTlSTlCALLY,

lNTELLECTUALLY?

WHERE DO YOU GET lT?

>> AN lMPORTANT STEP lN THE

MOVlEMAKlNG PROCESS lS ARCHlVAL:

STORlNG THE FlNAL COMPLETE MOVlE

AND THE MATERlALS USED TO CREATE

lT.

>> NOBODY TAKES ARCHlVlNG

SERlOUSLY.

THEY GO, "OH, l'LL SAVE lT ON

HARD DRlVE," AND THEY PUT THE

HARD DRlVE ON THE SHELF.

AND A YEAR LATER, YOU LOAD lT,

AND lT GOES, "TlCK, TlCK, TlCK,"

'CAUSE THEY STlCK.

lF YOU DON'T FlRE THEM UP ALL

THE TlME, THEY STlCK.

lF YOU DO FlRE THEM UP ALL THE

TlME, THEY WEAR OUT AND GO,

"TlCK, TlCK, TlCK."

>> SlNCE THE EARLY 1 950s--SlNCE

THE ADVENT OF COMMERClAL

TELEVlSlON, THERE HAVE BEEN

80 FORMATS OF VlDEO TO DATE.

80 FORMATS OF VlDEO, OKAY?

AND MOST OF THEM CANNOT BE

PLAYED ANYMORE BECAUSE THE

MACHlNES SlMPLY DON'T EXlST.

>> WHEN WE MAKE A MOVlE, WE HAVE

TWO DlGlTAL COPlES OF ALL OF THE

DAlLlES.

WELL, WHEN YOU BOX THOSE UP TO

BE STORED, YOU HAVE TO PUT A

READER lN WlTH THE THlNG.

l HAVE ARCHlVAL TAPE FORMATS FOR

MUSlC VlDEOS AND COMMERClALS

THAT l DlD lN THE 1 980s, AND

THERE'S NO MACHlNES THAT CAN

PLAY THEM.

>> THERE ARE NO ARCHlVAL FORMATS

WORTH ANYTHlNG lN THE DlGlTAL

REALM THAT YOU WOULD PUT ANY

STOCK lN, SO THERE ARE ALL KlNDS

OF lSSUES THAT SlMPLY HAVEN'T

BEEN DEALT WlTH YET.

>> THE ONLY WAY YOU CAN MAKE

SURE THAT A FlLM OR ANYTHlNG OF

A MOVlNG lMAGE lS GONNA BE

AROUND, MAYBE, 60 TO 70 YEARS

FROM NOW--lNTERESTlNGLY ENOUGH,

lRONlCALLY ENOUGH--lS CELLULOlD.

>> FlLM lS UNlQUE BECAUSE FlLM

lS A CAPTURE MEDlUM AND

A STORAGE MEDlUM.

SO lF YOU REALLY WANT TO GO

BACK AND lF YOU'VE STORED lT

UNDER THE RlGHT CONDlTlONS, 1 00

YEARS LATER, ALL YOU HAVE TO DO

lS SHlNE LlGHT THROUGH lT AND

YOU'LL BE ABLE TO SEE lT.

lT WlLL NEVER BE

FORMAT-OBSOLETE.

>> THERE WAS A CONFERENCE lN

1 909 WHERE THEY PUT TOGETHER THE

STANDARD FOR FlLM.

WELL, THAT HASN'T CHANGED lN 1 02

YEARS.

lF l HAVE A FlLM lN MY NlTRATE

VAULTS, l CAN PULL lT OUT AND

RUN lT ON A PROJECTOR TODAY,

EVEN THOUGH lT MAY HAVE BEEN

MADE lN 1 895.

>> lF THE POlNT, ULTlMATELY, OF

ARCHlVlNG lS THE FAlTHFUL

REPRODUCTlON OF THE ORlGlNAL

PRODUCT, FlLMMAKERS NOW--

l, AS A FlLMMAKER, NOW HAVE

A BETTER CHANCE OF SOMETHlNG

l MADE BElNG SHOWN PROPERLY 50

YEARS FROM NOW THAN l EVER HAVE

lN HlSTORY.

>> PEOPLE KEEP SAYlNG, "WE DON'T

KNOW WHAT'S GOlNG TO HAPPEN lN

THAT 50 YEARS," WE DON'T--

"NO ONE'S GONNA BE ABLE TO READ

THE lNFORMATlON" OR "lT'S GOlNG

TO DECAY" OR "YOU HAVE TO

MlGRATE lT OR lT'LL DlE."

>> YEAH, SURE.

YOU WlLL.

AND SOME OF THOSE THlNGS ARE

TRUE.

ALL OF THEM ARE BETTER SCENARlOS

THAN FlLM.

>> ALL OF EVERYTHlNG lN THlS

WHOLE WORLD lS STORED DlGlTALLY.

>> YEAH.

>> SO, YEAH, lT DOESN'T--YOU

KNOW, THERE'S PROBLEMS WlTH lT,

RlGHT?

BUT THEY'RE GONNA SOLVE THOSE

PROBLEMS.

l'LL GUARANTEE THAT.

THERE'S TOO MUCH DlGlTAL

lNFORMATlON OUT THERE NOT TO

FlGURE OUT A FOOLPROOF WAY TO

STORE lT FOREVER.

>> ARCHAEOLOGY ALWAYS lMPROVES,

SO AS THE WAY THAT WE LOSE

THlNGS CHANGE, THE WAY THAT WE

lNVENT TO FlND THEM CHANGES.

>> SO YOU'RE NOT WORRlED ABOUT

lT ALL DlSAPPEARlNG?

>> lF THlNGS ARE lMPORTANT TO

HUMAN BElNGS, WE FlGURE OUT WAYS

TO PRESERVE THEM,

ALWAYS BEEN TRUE.

YES, WE LOSE STUFF, BUT THAT'S

PART OF LlFE.

>> WE MlGHT GET TO THE STAGE

WHERE A PRlNT OF A FlLM lS SO

RARE THAT lT'S ALMOST LlKE AN

ART OBJECT THAT WE CAN GO BACK

AND SAY, "THlS lS ACTUALLY A

PRlNT OF A FlLM AND lT'S THE

ONLY ONE lN THE WORLD."

>> 1 00, 200 YEARS FROM NOW,

THERE WON'T BE A TRACE OF US

LEFT, AND THERE WON'T BE A TRACE

OF ANYTHlNG WE MAKE NOW.

SO WHERE ARE WE?

WE'RE FUCKED.

>> l DON'T BELlEVE FOR ONE

SECOND THAT DlGlTAL lMAGlNG OR

DlGlTAL TECHNOLOGY WlLL EVER

TAKE AWAY THE HUMANlTY OF

STORYTELLlNG, BECAUSE

STORYTELLlNG, lN AND OF lTSELF,

lS A WHOLLY HUMAN CONCERN.

>> ART lS VERY PRlMORDlAL.

SClENCE lS ALSO VERY PRlMORDlAL,

SO l KlND OF SEE ALL OF THESE

THlNGS AS JUST, SORT OF--THEY'RE

VERY HARMONlOUS THlNGS THAT

ALWAYS HAVE TO PUSH ON ONE

ANOTHER.

>> WE ARE AT THE TOP OF THE

PHOTOCHEMlCAL PROCESS.

THlS lS ABOUT AS FAR AS lT'S

EVER GONNA GO.

WHEN YOU'RE USlNG DlGlTAL,

YOU'RE AT THE VERY BOTTOM AGAlN.

SO YOU SHOULD JUMP OVER AND HELP

BUlLD THAT, 'CAUSE THE MORE

PEOPLE THAT USE lT, THE BETTER

lT GETS.

>> UNLESS YOU ARE PARTlClPATlNG

WlTH THE REVOLUTlON, WE

WE WlLL BE LOST lN PAST.

WE CAN'T COUNT OURSELF OUT AND

SAY, "WE DON'T CARE.

lT'S UP TO YOU GUYS."

NO.

SO WE HAVE TO BE lN.

>> THEN EVERYONE WlLL HAVE

ACCESS TO BOTH THE MEANS OF

PRODUCTlON AND WATCHlNG ANYTHlNG

THAT'S EVER EXlSTED lNSTANTLY.

>> AS DlGlTAL CONTlNUES TO

CHANGE THE NATURE OF

STORYTELLlNG, WE'LL ALSO

CONTlNUE TO CHANGE lN WAYS THAT

l DON'T EVEN KNOW l COULD

UNDERSTAND, BUT ALL THlNGS DO

THAT, AND THlS BECOMES A GlANT

REVOLUTlON.

>> PEOPLE LOVE GREAT STORlES.

THEY LlKE TO GET lNTO A WORLD

AND HAVE AN EXPERlENCE.

AND HOW THEY GET THERE--

lT DOESN'T REALLY MATTER.

>> ONE SHOULDN'T EVEN THlNK,

"WE'VE STOPPED AND NOW WE'VE

REACHED DlGlTAL.

THlS lS lT."

NO, NO.

THlNK ABOUT WHERE THE

ENTERTAlNMENT lMPULSE--WHERE THE

NEED lS GOlNG TO GO.

>> DO YOU FEEL, TECHNOLOGlCALLY,

WlTH WHERE YOU ARE--DO YOU FEEL

FREE?

>> l'M NOT SURE l EVER WANT TO

FEEL THAT WE'VE ARRlVED,

TECHNOLOGlCALLY.

l ALWAYS WANT TO FEEL THERE'S

SOMETHlNG WE CAN DO BETTER.

>> THE PEOPLE WHO HAVE COME

BEFORE US GAVE THE WORLD NEW

WAYS TO DREAM, AND l THlNK lT'S

OUR JOB TO CONTlNUE THAT AND TO

TRY TO GlVE PEOPLE NEW WAYS TO

DREAM.

>> EVERYTHlNG COMES DOWN TO ONE

THlNG: lF YOU DO SOMETHlNG WlTH

YOUR HEART--lF YOU DO SOMETHlNG

THAT YOU ARE CONVlNCED OF

AND FEEL ABOUT lT, lT DOESN'T

MATTER WHAT YOU USE.

[alternative rock music]

♪ ♪

♪ SATURDAY lN THE ClTY ♪

♪ l'VE BEEN WALKlN' THE BEAT ♪

♪ FEELlN' GRlTTY ♪

♪ GETTlN' REVVED UP ♪

♪ FOR THE PlCTURE SHOW ♪

♪ WlTH A FEELlNG ♪

♪ THAT WE'LL NEVER KNOW ♪

♪ JUST A COWBOY ♪

♪ SHOOTlN' UP AT THE SKY ♪

♪ HE'S FlGHTlN' THE CHANGE ♪

♪ THERE'S A TEAR lN HlS EYE ♪

♪ A TOAST TO ALL ♪

♪ OUR FAVORlTE FlLMS ♪

♪ lN THE SAFE ♪

♪ WE FlND OUR WAY HOME ♪

♪ NEON LlGHTS ♪

♪ WlND'S lN YOUR EYES ♪

♪ LET'S GlVE lT A WHlRL ♪

♪ TRY lT ON FOR SlZE ♪

♪ AS WE WERE STANDlN' ♪

♪ SlDE BY SlDE ♪

♪ TOGETHER ♪

♪ THE MOUNTAlNS WE COULD CLlMB ♪