Hudsonview
Member
From a recent piece in the NY Times, still available on their movies page:
From two inches to infinity. Now that's really something. I liked what digital brought to the look of "Collateral", the flat, washed out-ness perfectly suited that film's very dark tone. From all reports "Miami Vice" looks simply stunning. So they've raised the bar. I eagerly await the arrival next year of David Fincher's Zodiac killer project, captured digitally. That, too, may be another significant step. Even more than Speilberg, if/when Terrance Malick goes digital, that will be a moment worth marking.
Others are gravitating toward the digital cameras because of their aesthetic qualities. Dion Beebe, the cinematographer for “Miami Vice,” said that he and the director, Michael Mann, chose a camera from Thomson Grass Valley called the Viper to create a particular look for the movie.
“We made use of the Viper’s amazing depth of field,” Mr. Beebe said. “You’re seeing clearly from two inches to infinity.”
But Mr. Beebe says that film cameras are still superior to their digital brethren for capturing bright sunlight in a more nuanced way, and other cinematographers acknowledge that digital cameras do not have the resolution found in film.
From two inches to infinity. Now that's really something. I liked what digital brought to the look of "Collateral", the flat, washed out-ness perfectly suited that film's very dark tone. From all reports "Miami Vice" looks simply stunning. So they've raised the bar. I eagerly await the arrival next year of David Fincher's Zodiac killer project, captured digitally. That, too, may be another significant step. Even more than Speilberg, if/when Terrance Malick goes digital, that will be a moment worth marking.