We might as well call it: Cinema as we knew it is dead. […]
Although I’ve become more of a surly classicist with age, I was an early defender of movies shot on video, and I really don’t see the point of doing a Grandpa Cinema routine, waving a cane and hollering that the movies somehow “equal” film. That’s silly. Cinema is not just a medium. It is alanguage. Its essence — storytelling with shots and cuts, with or without sound — will survive the death of the physical material, celluloid, that many believed was inseparably linked to it. The physical essence of analog cinema won’t survive the death of film (except at museums and repertory houses that insist on showing 16mm and 35mm prints).
But digital cinema will become so adept at mimicking the look of film that within a couple of decades, even cinematographers may not be able to tell the difference. The painterly colors, supple gray scale, hard sharpness and enticing flicker of motion picture film were always important (if mostly unacknowledged) parts of cinema’s mass appeal. The makers of digital moviemaking equipment got hip to that in the late ’90s, and channeled their research and development money accordingly; it’s surely no coincidence that celluloid-chauvinist moviegoers and moviemakers stopped resisting the digital transition once they realized that the new, electronically-created movies could be made to look somewhat like the analog kind, with dense images, a flickery frame rate, and starkly defined planes of depth.
But let’s not kid ourselves: Now that analog filmmaking is dead, an ineffable beauty has died with it. Let’s raise two toasts, then — one to the glorious past, and one to the future, whatever it may hold.
BTW: The three major manufacturers of motion picture film cameras — Aaton, ARRI and Panavision — have all ceased production of new cameras within the last year, and will only make digital movie cameras from now on. This is as big of news as when Kodak announced they would no longer make photography film.