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Posts Tagged ‘Film’

Film Vs. Digital – The Debate Goes On

Saturday, December 21st, 2013

Click here to view a gorgeous DIY video by Joey Shanks on the difference between digital and film capture.

As he notes, “What looks better… FILM or DIGITAL? We may never know the answer to that question, but here are some side by side comparisons of a Canon 5d (Full Sensor) digital camera and a Canon 7E (35mm) film camera. Please weigh in on the discussion and let us know what you think about the last frame, is it film or digital?”

Cameras Used:
Canon 5d Mark II (digital) ISO 400
Canon 7e (35mm film) Fuji 400 Stock

Shot Info:
SALT SHAKER \ 50mm Canon \ f22 \ 2 sec
DRIVING on ROAD \ 12-24mm Tokina \ f22 \ 2.5 sec (ND Filter)
MAGNETIC PUTTY \ 100mm Canon Macro \ f3.2 \ 1/25
PORTRAIT \ 100mm Canon Macro \ f5 \ 1/80
STEAM KETTLE \ 50mm Canon \ f2 \ 1/60
STEEL WOOL BURNING \ 100mm Canon Macro \ f2.8 \ .8 sec
SLAMDANCE \ 50mm Canon \ f5.6 \ 2 sec
STAR TREK Transporter \ 50mm Canon \ f14 \ 2 sec

A fascinating experiment, and a really mesmeric video.

The End of Film is Really Here

Tuesday, April 16th, 2013

I’ve been banging the drum on this for a long time, but now, it seems the end is really here.

As Carolyn Giardina and Adrian Pennington report in today’s Hollywood Reporter, “by the end of this year, distributors may no longer deliver film prints to theaters in North America. Cans full of reels of celluloid will be a thing of the analog past. When it comes to movies, and how they are distributed, the digital revolution will be complete. The signs are all there — and there have been plenty of warnings.

At Showest, the predecessor to CinemaCon, in 2011, National Association of Theatre Owners president John Fithian predicted that the domestic distribution of movies on celluloid could cease before the end of 2013. Fithian reported that Fox had already notified exhibitors of its intent to end film distribution in the U.S. within two years. He predicted, ‘No one should rely on the distribution of film prints much longer.’

By the end of 2012, 90,000, or 75 percent, of the world’s cinema screens had gone digital, according to Michael Karagosian, president of MKPE Consulting. He reports that 85 percent of the screens in North America had already made the digital switch, as have 67 percent in Europe. Studios welcomed the change, since it will ultimately be less expensive for them to distribute films digitally rather than have to ship cans of film around the country. Exhibitors, initially wary because of concerns about the expense of converting their auditoriums, ultimately came aboard once the studios agreed to virtual print fees that have helped subsidize the costs of the transition.

As a result, when a studio now releases a title wide in North America — sending it out to 2,000-2,500 theaters — they typically make just a small number of prints, maybe 300, according to Claude Gagnon, president of Technicolor Creative Services. But for those who still rely on film, from production companies to distributors to theater owners, the future is now uncertain. In fact, studios and filmmakers might not be in control of their own destiny.”

By the end of 2013, it seems, film will be gone; like it or not, it’s a digital world.

Streaming: Movies, Media and Instant Access — New Video Trailer

Wednesday, February 27th, 2013

Click here to see the trailer for my new book, Streaming: Movies, Media and Instant Access.

Film stocks are vanishing, but the image remains, albeit in a new, sleeker format. Today, viewers can instantly stream movies on demand on televisions, computers, and smartphones. Long gone are the days when films could only be seen in theaters: Videos are now accessible at the click of a virtual button, and there are no reels, tapes, or discs to store. Any product that is worth keeping may be collected in the virtual cloud and accessed at will through services like Netflix, Hulu, and Amazon Instant.

The movies have changed, and we are changing with them. The ways we communicate, receive information, travel, and socialize have all been revolutionized. In Streaming: Movies, Media, and Instant Access, Winston Wheeler Dixon reveals the positive and negative consequences of the transition to digital formatting and distribution, exploring the ways in which digital cinema has altered contemporary filmmaking and our culture. Many industry professionals and audience members feel that the new format fundamentally alters the art while others laud the liberation of the moving image from the “imperfect” medium of film, asserting that it is both inevitable and desirable. Dixon argues that the change is neither good nor bad; it’s simply a fact.

Hollywood has embraced digital production and distribution because it is easier, faster, and cheaper, but the displacement of older technology will not come without controversy. This groundbreaking book illuminates the challenges of preserving digital media and explores what stands to be lost, from the rich hues present in film stocks to the classic movies that are not profitable enough to offer as streaming video. Dixon also investigates the financial challenges of the new distribution model, the incorporation of new content such as webisodes, and the issue of ownership in an age when companies have the power to pull purchased items from consumer devices at their own discretion.

Streaming touches upon every aspect of the shift to digital production and distribution. It not only explains how the new technology is affecting movies, music, books, and games, but also how instant access is permanently changing the habits of viewers and influencing our culture.

Wheeler Winston Dixon, James Ryan Endowed Professor of Film Studies and professor of English at the University of Nebraska, Lincoln, is coeditor-in-chief of the Quarterly Review of Film and Video and the author of numerous books, including A History of Horror, Visions of the Apocalypse: Spectacles of Destruction in American Cinema, and Film Talk: Directors at Work.

“Dixon has written a lively, opinionated, and detailed up-to-the-minute dispatch on the current state of the moving-image media as they experience a period of rapid transition marked by instability and uncertainty regarding the future of viewing and exhibition practices. It is a timely and urgent contribution to current scholarship in the constantly evolving discipline of media studies.”—David Sterritt, author of Screening the Beats: Media Culture and the Beat Sensibility

“Dixon’s book offers a cogent overview of the history of digital film production and its impact on traditional filmmaking. His work is more than just a historical map of the development of digitalized filmmaking, but also a socio-cultural and psychological study of how digitally formed film will (and does) impact viewers. Streaming will make a significant contribution to the field, as no scholar has yet looked at digital cinema and its impact on the socio-cultural experience of viewing film.”—Valerie Orlando, author of Screening Morocco: Contemporary Film in a Changing Society

Film/Television/Popular Culture
May, 2013
184 pages ∙ 6 x 9
ISBN 978-0-8131-4217-3 ∙ Cloth $69.00x
ISBN 978-0-8131-4219-7 ∙ Paper $24.95
ISBN 978-0-8131-4224-1 ∙ PDF
ISBN 978-0-8131-4218-0 ∙ EPUB

Forthcoming from The University Press of Kentucky

Frame by Frame Video: Product Placement

Thursday, April 26th, 2012

Click here, or on the image above, to the see the video, with subtitles.

There’s a new video in the Frame by Frame series, directed and edited by Curt Bright, which talks about product placement in films. Here’s a transcript of my brief overview of this subject:

“Hi. I’m Wheeler Winston Dixon, James Ryan professor of Film Studies at the University of Nebraska-Lincoln, and this is Frame By Frame, and I’d like to talk right now about product placement. Product placement is something that’s becoming more and more common in movies, as movies cost more and more to make. You have to remember that movies in the 1960s, 1970s and 1980s cost maybe … a big-budget in the 1980s would cost $12 million… $13 million. Today, a movie costs $100 million to make, and that’s for a small comedy, or something like that. So how are you going to make up this kind of money? Product placement.

I was at a studio this summer, talking to some executives, and they were saying that they aggressively go after product placement to put cars, soft drinks, food items… For example, Reese’s Pieces in E.T. suddenly took off like crazy. But the forerunner in all of this, oddly enough, is a film by Howard Hawks called Red Line 7000, which was considered at the time scandalously the most-sponsored film in history.

Product placements are something which adds additional revenue not just to movies but to TV shows, and there’s varying degrees of product placements. If you have something prominently in the foreground, you pay more. If it’s something in the background, you pay less. If you see just the side of the product, you pay even less than that. And if you don’t pay at all, the product vanishes out of the scheme. Merchandising has therefore become a kind of inescapable part of the movie process, particularly in the 21st century… not so much in the 30s and 40s and 50s… But now that the movies have become more of a business than an art form, product placement has become an art form in itself.”

About the Author

Wheeler Winston Dixon

Wheeler Winston Dixon, Ryan Professor of Film Studies at the University of Nebraska-Lincoln, is an internationally recognized scholar and writer of film history, theory and criticism. He is the author of numerous books and more than 70 articles on film and appears regularly in national media outlets discussing film and culture trends. Frame by Frame is a collection of his thoughts on a number of those topics. To contact Prof. Dixon for an interview, reach him at 402.472.6064 or wdixon1@unl.edu.

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In The National News

National media outlets featured and cited Wheeler Winston Dixon on a number of topics in the past month. Find out more on the website http://newsroom.unl.edu/inthenews/