The Digital Intermediate process, known as DI, has been around in cinema for over a decade now. Basically, it is the transfer of filmed material to the digital realm, allowing for total control of the image in post production, especially with regards the colour palette. Traditionally it is an expensive process (10 years ago, around $200,000 for a feature film) and involved scanning the film in its entirety. But as film itself has become all but obsolete, this part of the process is unnecessary and digital grading has become more widespread. Continue reading Digital Grading: cinema and the blue rinse brigade→
As the Nick Love-directed remake of The Sweeney reaches British cinemas, Dene Kernohan looks at the history of British TV in the cinema.
The subgenre of films based on British TV series is one I have a great deal of affection for, even if critical acclaim has been limited. And it’s one which has been around almost as long as commercial television itself. The earliest example seems to be I Only Arsked!, a 1958 Hammer comedy in which Bernard Bresslaw reprised his role of Pte “Popeye” Popplewell from Granada Television’s national service sitcom The Army Game.
Just before Christmas, the issue of film release scheduling was brought up as part of the ugly contretemps between New Yorker film reviewer David Denby and Girl with the Dragon Tattoo producer Scott Rudin. While Denby’s claim that he had to break an embargo he’d agreed to because of release schedule madness (in this case, keeping all of the films aimed at a literate, adult audience to be released at the same time) was clutching for a proverbial drinking device, there’s a kernel of truth to the fact that most of the interesting releases aimed at an older audience do tend to be squeezed into a three month (at best) period. Continue reading Preview of 2012 – Awards and Art House→