[KineJapan] ORTHOchromatic SHIN GODZILLA?

[Markus Nornes]

Thank you for these thoughtful comments. This is clearly a precarious
moment.


> Post the Digitial Intermediate's emergence in the mid-2000s, but pre-the
> DCP mass rollout in 2012, a common feature film workflow globally was 35mm
> camera neg > digital scanning > DI > filmrecorder out to 35mm release
> print. DCP changed the last step, but 35mm negative originated productions
> are still more common than realised That being said, even Nolan isn't
> making film intermediates, no matter his allegiance to shooting and
> releasing on film.
>
> Incidently, after Kinema Club I remained in Sheffield for the documentary
festival. Not much to say about it for this forum. However, I thought I'd
mention my favorite film of the festival, the world premiere of a total
geek fest. I can't even say it was a love letter to the moviola and 35mm
analog editing. It was totally focussed on the process as demonstrated to
none other than Walter Murch (who was there!) and an assistant editor—two
people that still have the muscle memory, which is clearly important.

They took a big chunk of raw digital footage from Mike Leigh's *Mr. Turner *and
made 35mm intermediates  (since for films shot on 35mm, the negatives are
already cut up) and transferred the raw sound to 35mm analogue two-strip.
The director worked Ebay and bought all the equipment he needed to edit,
except for a flatbed to watch the rough cut we watched them edit—they went
to the Kubrick estate to use the Steinbeck used for editing *The Shining*
and *Full Metal Jacket.*

When they are done, they call Mike Leigh to the Kubrick estate to evaluate
the rough cut. I won't ruin that revelation!

At any rate, the process was laborious, and it was clear from the
filmmaker's experience that the machines and materials to edit 35mm are
basically gone after this production (eg., they found what's probably the
last bit of edge tape for coding—at Pixar of all places). You could
palpably see why Nolan et al are immediately moving to digital after analog
capture.

Anyone interested in film history has to see this film. It's really
eye-opening.

Markus
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