Star wars shift from film to digital techniques

Star wars shift from film to digital techniques movie#

Lucas would also shoot the last film in the trilogy, Revenge of the Sith, digitally, and has been a big proponent of the digital revolution ever since.

Star wars shift from film to digital techniques movie#

Much like its unconventional predecessor Julia and Julia, many theaters showing the movie screened it in 35mm despite LucasвЂ™ plea to convert their projectors to digital.

It marked the first time that a massive blockbuster dared to question the sanctity of celluloid, and despite the relatively lackluster critical response, the film ushered in a new era of digital acceptance. Though he and the CGI masters at Industrial Light and Magic would use some HD digital cameras for effects shots on The Phantom Menace, Lucas decided to shoot the middle chapter in his prequel trilogy entirely on SonyвЂ™s HDW-F900. Star Wars Episode II: Attack of the ClonesДЇor director George Lucas, innovation has always come hand in hand with controversy. After seeing test footage shot by director George Lucas, Rodriguez would shoot all of his movies-including the highly stylized Sin City-digitally. The third and final installment in director Robert RodriguezвЂ™s Mexico Trilogy featuring the El Mariachi character played by Antonio Banderas, Once Upon a Time in Mexico was shot in 2001 and released in 2003 and was among the first wide-release movies to be shot using 24-frames-per-second HD cameras meant to mimic the look of film. Despite the fact that one of the rules states, вЂњThe film format must be Academy 35mm,вЂќ both movies ushered in a more widely accepted view of digital cinema that fit along nicely with the burgeoning independent film movement of the 1990s. They somewhat adhere to the goals of the Dogme 95 movement, a set of restrictive cinematic rules set down by a group of filmmakers-including Vinterberg and von Trier-who sought to emphasize вЂњactual story and the actorsвЂ™ performancesвЂќ above all else. These two films by infamous Danish directors Thomas Vinterberg and Lars von Trier premiered at the Cannes Film Festival in 1998 and were shot using the Sony DCR-PC7E and DCR-VX1000, respectively. The whole movie is available on YouTube for your spooky viewing pleasure. Shot in a docudrama style, this low-budget 1998 American horror movie about searching for the Jersey Devil in New JerseyвЂ™s Pine Barrens predates the similarly inexpensive and much more famous Blair Witch Project by a year, and was allegedly the first feature length film shot and edited on consumer-grade equipment. See what you think about the nascent digital format for yourself-the entire film is available on YouTube above. At the time, the film had to be converted onto 35mm so it could be shown in theaters. This 1987 Italian drama directed by Peter del Monte and starring Kathleen Turner was the first movie shot with SonyвЂ™s High Definition Video System. WeвЂ™re not talking about the 2009 Nora Ephron, Meryl Streep, and Amy Adams movie about Julia Child here.

HereвЂ™s a list of important films that helped propel TinseltownвЂ™s controversial shift from film into digital, from niche-market fad to high-profile industry standard. Hollywood is changing: Paramount PicturesВ no longer produces films on celluloid and Old Guard directors like Martin Scorsese are shooting their movies with digital cameras.