With the ongoing debate between digital and film happening within Hollywood, what no one really wants to acknowledge is that it’s not about one format being inherently better than the other, it’s about which serves the specific needs of a given project. And the “Star Wars” franchise is proving to be the perfect example of that.
THR reports that Gareth Edwards‘ upcoming “Star Wars Anthology: Rogue One” will be shot using the new Arri Alexa 65, a digital camera that provides 6K resolution. In layman’s terms, it will melt your face off. The name might be familiar because it was reported not long ago that the Russo Brothers were using a new fangled IMAX version of the camera for the entirety of their “Avengers: Infinity War” shoot. But the “regular” Arri Alexa 65 has become a popular one, used by guys like Emmanuel Lubezki (“Birdman,” “The Revenant“), Robert Elswit (“Mission: Impossible — Rogue Nation“), and now Greig Fraser of “Foxcatcher” and “Zero Dark Thirty” fame on ‘Rogue One.’
However, for “Star Wars: Episode 8,” it’s going to be analog for Rian Johnson (via Collider). Asked about the recent semi-resurgence of 65mm by Quentin Tarantino and Paul Thomas Anderson, and whether or not he’d use the big frames for his ‘Star Wars’ movie, Johnson revealed he was sticking with 35mm. Why? Because that’s what is going to work for the movie he’s putting together.
So, you’ll be getting one “Star Wars” delivered in cutting edge digital, and another on “old school” 35mm. At the end of the day, and particularly in a franchise like this, it’s not about the tech details but about the story being told.
https://twitter.com/rianjohnson/status/608529002194677760
will ok about star wars episode 8 since they will fliming in london because they need a working title like the force reborn or rise of the new empire or vader strike for episode 8 then episode 9 another working titles that need to be annouced soon i love star wars they should cast wwe diva eva marie as mara jade and megan fox as a jedi for the rebel they more new cast members for episodes 8-12 anthology series star wars lives
I think you\’ll find many filmmakers were acutely aware of how poorly films were often projected. However shooting format is a very different conversation to distribution, one which the filmmakers have more control, hence why I liked the article, it\’s not trying to be complicated.
The romantic connection with film isn\’t misinformed, the process and results are different to digital. The frustration has been that executives have in recent past pushed digital onto filmmakers, which makes these directors with more power choosing film interesting.
I think the fact that so many film makers have a romantic attachment to film makes Brion\’s comments very relevant. Most film makers do not know just how horrible most film presentations were in theaters in the post union-projectionist-automation/xenon-bulb era that started around 1970. It is a relevant part of the equation that should be mentioned anytime someone compares film to digital.
I\’m liking your new interest in film science Kevin, keeping it simple which is nice.
Brion – The film will be shot on 35mm, doesn\’t need to be projected on film also.
Your points on projection are valid, just not really the story here.
The studios went mostly digital ten years ago. They let film die. Most theaters ditched the film projectors to install digital projectors so now the candy girl can run the shows. Add an economic slow down to the mix to make most of the projectionists who know how to run film throw in the towel and retire. Now, who do they think they will get to run these movies. No matter if its 35mm or 70mm, if you plan to see these films at a theater they will be plattered. By the end of the first week most will have platter scratches and dirt on them. The only way to really insure that you will get a good presentation on film is to do changeover screenings. And there aren\’t too many people left who still can do that. Fewer still who can do it right.