Word: shootings
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...left enduring work in every one. The novelist who wrote The Learning Tree also composed concertos; the poet also directed Shaft. But it's as a photographer that Parks will be remembered most. Especially at LIFE, where, as the first African American on its photo staff, he could shoot a Brazilian slum or a Paris fashion show with the same sure mastery. Above all, he made countless pictures of African-American life at a time when white racism was the rule--sometimes the law--around the country...
...often been noted that if Henry Ford were to come back today, he would wonder why no one had come up with a better idea than the internal combustion engine. A similar thought may occur to any visitor to a movie shoot. Dozens, maybe hundreds of technicians adjust the lights, apply the makeup and dress the set, much the way it was done almost 100 years ago. And as in D.W. Griffith's day, the film still runs through a camera, then is processed, reproduced many times and sent to theaters...
Directors who have worked in digital don't agree. They say it's capable of a chromatic subtlety that film can't match. Michael Mann, whose 2004 Collateral was, he says, "the first photo-real use of digital," is using the same process to shoot the big-screen version of his old Miami Vice TV series. "In the nightscapes in Collateral, you're seeing buildings a mile away. You're seeing clouds in the sky four or five miles away. On film that would all just be black...
...moviemakers won't shoot digitally, they'll edit digitally, citing ease and efficiency. But Steven Spielberg and his longtime editor Michael Kahn don't. "Michael and I are the last persons cutting movies on KEMs," he says, referring to the German flatbed machine that is no longer manufactured. "I still love cutting on film. I just love going into an editing room and smelling the photochemistry and seeing my editor with mini-strands of film around his neck. The greatest films ever made were cut on film, and I'm tenaciously hanging on to the process...
...there's an argument for digital that Hollywood can get behind, it's this: it's far cheaper than film--cheaper to shoot, cut and duplicate. But the big savings come in getting the product to the public. Says Lucas: "Making a big movie, a Harry Potter or a Spider-Man, you're spending $20 [million] to $30 million for the prints just to strike them and ship them to the theaters. Smaller movies have to spend a huge part of their budgets on prints." Digital would cut print and shipping costs about 80%. Even Spielberg, who wears many hats...