July 22, 2002

The Look of DV: Tadpole vs. Full Frontal

"The advantage of [shooting on digital video] is that nobody knows, or at least cares, that you're making a movie; the disadvantage...is that the end product appears to have been filmed through a triple layer of bubble wrap."
- from Anthony Lane's
New Yorker review of Tadpole, the latest from IFC Productions' InDigEnt.

Compare this to the complicated process Steven Soderbergh used to get "enhanced graininess" on his new DV movie, Full Frontal (from an apple.com article):

Finish
FotoKem received the final cut of the original movie in PAL video, de-interlaced it and converted it to files using a disk array. The files were shipped across the network to their film recorder, which had been calibrated to shoot on 5298 film to enhance graininess. A two-stop push during negative processing further enhanced grain and contrast. A double chrome-reversal process was used to create the final negative and print. The 4:3 images were matted and converted to a1:66:1 (European) widescreen aspect ratio for theatrical projection. Fine-grade bubble wrap was then placed over the projector lens at the press preview.

Since 2001 here at greg.org, I've been blogging about the creative process—my own and those of people who interest me. That mostly involves filmmaking, art, writing, research, and the making thereof.

Many thanks to the Creative Capital | Warhol Foundation Arts Writers Program for supporting greg.org that time.

comments? questions? tips? pitches? email
greg [at] greg [dot ] org

find me on twitter: @gregorg

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first published: July 22, 2002.

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