The Premiere Seminars series started with Preserving the Future of the Moving Image held at the sold-out Sherry Lansing Theater and co-presented by the BSC, British Society of Cinematographers and the ASC, American Society of Cinematographers, moderated by Bob Fisher. The BSC panelists presented an evaluation comparing images produced with 18 different digital cameras and film stocks in Super 16 and Super 35 formats to provide an objective visual reference and factual information to help guide decisions about the choice of media for the production of narrative motion picture and television programs.
The evaluation included day and night, interior and exterior scenes and close-up shots that were produced at Pinewood Studios. The images are in the process of being taken through a state of the art post-production workflow for projection in both film and digital formats.
After an introduction of the members of panel by Bob Fisher, the President of the BSC, Sue Gibson presented the evaluation and workflow process supported by a video projection of several key images and footage taken in different settings and lighting situations by accredited members of the BSC. The evaluation presentation was followed by a Q&A with the participation of the inquisitive audience covering gray areas for some, such as format, image acquisition, proper workflow and global technical standardization.
The BSC and ASC members of the panel responded with a unanimous voice about the proper way of utilizing the discussed cameras, being digital or film, as a unique tool for your specific job at hand. No digital camera supersedes a film stock reflex camera or vice-versa, they all just represent another tool in your cinematographer's bag . The immediacy and grain less images of the digital camera realm has brought the need of the comparison test implemented by the BSC and ASC members.
America, Europe and the world in general, looks up to the BSC and the ASC for their artistic, ethical and technical guidelines, thus creating the need of a coherent and bona fide technical reference to follow, rather than a subjective manufacturer sales sheet that provides marketing specs to their prospective clients as described by Michael Goi, ASC President.
Few moths ago, the ASC conducted a similar comparison test in conjunction with the Producers Guild Of America (PGA) spearheaded by Curtis Clark, ASC and Dave Stump, ASC, using the following cameras: Arri 435 (various Kodak film stocks, but primarily 5217), Arri D21, Panavision Genesis, Panasonic 3700, RED One, Sony F23 , Sony F35 and Thomson Viper and released its findings last Sunday, July 7 during Produced by Producers held at Sony Studios. (Upcoming posting)
Sue Gibson, BSC President and Michael Goi, ASC President
The BSC/ASC panel was integrated by Sue Gibson, BSC President, Joe Dunton BSC, John Daly BSC, Martin Hammond, ASC President Michael Goi, Steven Poster ASC, Richard Crudo ASC, and Nic Morris, BSC, Board of Governors. As a closing highlight, the panel discussed the preservation of the moving image for future generations, preceded by the presentation of a clip of a restored film and a Q&A.
Bob Fisher, Joe Dutton, BSC and Phil Meheux, BSC
After an introduction of the members of panel by Bob Fisher, the President of the BSC, Sue Gibson presented the evaluation and workflow process supported by a video projection of several key images and footage taken in different settings and lighting situations by accredited members of the BSC. The evaluation presentation was followed by a Q&A with the participation of the inquisitive audience covering gray areas for some, such as format, image acquisition, proper workflow and global technical standardization.
The BSC and ASC members of the panel responded with a unanimous voice about the proper way of utilizing the discussed cameras, being digital or film, as a unique tool for your specific job at hand. No digital camera supersedes a film stock reflex camera or vice-versa, they all just represent another tool in your cinematographer's bag . The immediacy and grain less images of the digital camera realm has brought the need of the comparison test implemented by the BSC and ASC members.
America, Europe and the world in general, looks up to the BSC and the ASC for their artistic, ethical and technical guidelines, thus creating the need of a coherent and bona fide technical reference to follow, rather than a subjective manufacturer sales sheet that provides marketing specs to their prospective clients as described by Michael Goi, ASC President.Few moths ago, the ASC conducted a similar comparison test in conjunction with the Producers Guild Of America (PGA) spearheaded by Curtis Clark, ASC and Dave Stump, ASC, using the following cameras: Arri 435 (various Kodak film stocks, but primarily 5217), Arri D21, Panavision Genesis, Panasonic 3700, RED One, Sony F23 , Sony F35 and Thomson Viper and released its findings last Sunday, July 7 during Produced by Producers held at Sony Studios. (Upcoming posting)
Sue Gibson, BSC President and Michael Goi, ASC PresidentThe BSC/ASC panel was integrated by Sue Gibson, BSC President, Joe Dunton BSC, John Daly BSC, Martin Hammond, ASC President Michael Goi, Steven Poster ASC, Richard Crudo ASC, and Nic Morris, BSC, Board of Governors. As a closing highlight, the panel discussed the preservation of the moving image for future generations, preceded by the presentation of a clip of a restored film and a Q&A.
Bob Fisher, Joe Dutton, BSC and Phil Meheux, BSC
