Novidades Analógicas #5: Paul McCartney, Who Cares

Videoclip de Who Cares, por Paul McCartney e protagonizado por Emma Stone. Filmado em película de 65mm (Kodak) e 16mm Ektachrome.



Realização: Brantley Guiterrez
Direcção de Fotografia: Linus Sandgren

[Fontes: Capitol Records / MPL Communications Inc / Kodak].
[Imagem: Nasty Little Man / Variety].

Nunca se Escreveu Tanto Sobre a Película — Parte 6

Uma súmula de artigos que, nos últimos meses, colocaram a projecção em 70mm e a preservação de materiais fílmicos analógicos no topo de assumidas peças de jornalismo. Nota especial para a persistente referência ao 70mm como um formato para o futuro.

"The stacks of billions of dollars in cash that were stored here during the Cold War have been replaced by vaults stuffed with film from the golden age of Hollywood."
Gabe LaMonica, in Former nuclear-proof bunker now safe guards treasures of Hollywood, Washington Times.

"In this new 12-minute video essay for his YouTube channel The Royal Ocean Film Society, Andrew Saladino digs into the history of 70mm film and explores how and why the format was developed in the first place. In doing so, he makes a case for the value of 70mm beyond just its aesthetics."
Caroline Siede, in We have the rise of TV to thank for the invention of 70mm film, AV News.

"The images are really sharp. The color, especially... the color and brightness play off each other. The brightness is measured at the same level, but for 70mm, it’s more evenly spread across the frame. It’s really sort of an intense image."
Julian Antos, citado por Dominick Suzanne-Mayer, in The Film Stays in the Picture: A Guide to 70mm Film Projection, Consequence of Sound.

"Many movies are costly to preserve. Others have disappeared. It's a problem no one saw coming."
Chris O'Falt, in The Indie Film Preservation Crisis: We Are Losing the Films That Defined the ’80s and ’90s, IndieWire.

"In addition to interest from still photographers, Kodak anticipates a strong demand for Super 8 and 16mm in commercials, music videos and features. "
David Alexander Willis, in Kodak Ektachrome Resurgence, The American Society of Cinematographers.

"What many projectionists (myself included) describe as the 'magic' of movies isn't what is seen on the screen in a cinema. The vantage point from behind the port is a unique one and often creates a special bond between projectionist and projector."
in For the Love Of It, Splice Here.

"In the past five years alone, 12 major blockbuster films have been released in 70 mm. So for people like Agle staffing up movie theaters, it's led to a need for projectionists who know how to work with the format."
Peter Balonon-Rosen, in As 70 mm film sees a comeback, who's running those projectors?, MarketPlace.

O Arquivo do Dia #118 — Ektachrome: O Regresso de Um Clássico

No momento em que a Kodak anunciou a iniciativa de retomar a produção e comercialização de película em processo Ektachrome, o Arquivo do Dia não podia, simplesmente, deixar de assinalar o regresso de um clássico.

Para tal, recorremos a um exemplo — igualmente clássico — de filme em Ektachrome, plenamente demonstrativo das potencialidades cromáticas e de definição que o formato é capaz de produzir. Entre imagens de provas de resistência humana em contexto militar e ensaios de imponderabilidade com gatos e pombos, o Arquivo de hoje, para além do óbvio interesse estético e científico que encerra, constitui-se como poderosa ferramenta de marketing para um formato analógico que conhece, nestes "dias digitais", uma nova vida.



[Fontes: National Archives and Records Administration / Internet Archive].
[Imagem: Cinematography.com].