COMMERC I ALS I N CELLULOI D | FEATURE
O ld-style filmography has risen from the (virtually) dead. Large numbers of filmmakers – professionals and amateurs alike – are turning their backs on digital capture in favour of the art of the craft, where images are conjured by exposing gelatine-coated strips to the light – a process that seems distant and exotic by comparison. It’s therefore no surprise that around the turn of the millennium, digital took the lead with its cost-cutting workflows that effortlessly connected capture with both
post and distribution. But it’s going to take more than a digital revolution to reduce a century-old technology to desuetude. And what’s interesting is that this resurgence in film isn’t restricted to the silver screen; the number of commercials being shot on film has grown exponentially over the last few years. Perhaps it’s because it’s a good gateway for filmmakers due the short-form nature of this type of content. Then again, is it absolutely true that time is of the essence when shooting on film?
© Ben Link
NOVEMBER 20 1 9 | DEF I N I T ION 59
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