The movie 300 heralded the beginning of a new era in film making. So hot on the heels of 300, Beowolf suggests that the digital film revolution is beginning to gather pace. How long can actors, agents and cameramen continue to claim that they are an integral part of the film making process?
Since the early 1990’s it has been clear that film making was heading into the direction of a cellulose-less medium. Few would have imagined then, that film-making would ultimately become digital, largely film-less, tape-less and now, location-less! This has largely been down to the economic necessity of the low budget film-maker who cannot compete financially with the studios on the procurement of brand label promotional actors habitually resident of the A-list. Instead, they use the skills learned on their home computer, whilst growing up, to create an imaginary digital world in cyberspace that magically looks exactly like the real world, except for the fact that its free and created on their personal computer. Brand names only look good if they are in the best and most glossy movies, but then again, so do little-known, unknown and un-named actors too! So what’s the solution to this problem of fame?
Studio based movies are very quickly proving not only the economic reality of the film industry but working hand in hand with the new digital artists who create moving images in computers and integrate them so well with live-action, that it is almost impossible to tell them apart. Many of these movies look so good and their storylines produced and presented so well, that Hollywood and other centers of excellence must be shuddering at the thought of an avalanche of high quality low-budget movies without star names attached which will steal their thunder and ultimately steal their revenues from right under their noses.
Digital Film Schools and other film courses such as The Lyceum of Theatrical Film in London (www.thelyceum.co.uk) no longer only teach the fundamentals of cinematography, clapper-loading etc, but primarily the story concept and the way to express it, its perception and presentation all storyboarded in digital imaging terms. Blue or green screen is a fundamental of the 21st century digital film process as is the use of Lightwave 3D 9, 3D animation package used on ‘300’, ‘Sin City’ and ‘Pan’s Labyrinth’, Endorphin, Dynamic Motion Synthesis software, used to create ‘virtual stunt doubles’, Vue Infinite 3D terrain generator, used on ‘Pirates of The Caribbean: Dead Man’s Chest’ and others.
Source by Adrian Thurston