The Crusade to Preserve Celluloid MoviesPosted on 31 Aug 00:00
As we continue to make revolutionary technology advancement in cinematography and filmography, we can’t help but wonder if our actions and our modernized methods of film making will have implications on our classic films. Now that we have cutting edge devices like 3D cameras and HD techs; with the potential to shoot movies in 4k, the question that most die-hard movie buffs are asking is: will this be the end of celluloid films?
While computer-generated imagery (CGI) is now the main talk point among serious movie buffs and high-profile figures in the film industry, we have to preserve the celluloid films that have produced all the rare movies, that we have come to love and respect. Can celluloid films keep their heads above the high waters of digital modernism that seems to be pushing classic movies further into the background? Maybe.
Can we revive the lost?
Since celluloid films (and the out-of-print movies that they have given us) have managed to stay relevant from their heyday to this very moment, there might just be hope yet, for celluloid films in this our modern-day society.
Even though celluloid films lack the graphics and visual capacities of CGI technology, we still cannot deny the fact that they are original, high quality, and rich in substance. Hence, the plethora of rare DVDs that were made with this film making method.
What seems to be the problem, you may ask. The problem is that there is no link between the classic methods of film making and the computer-generated imagery movies of today’s world. Instead of transitioning from celluloid to digital (with something in between), the movie industry made a leap from celluloid to digital. If we hope to maintain the top-notch quality of the old movies, we need something in between.
Along these lines, high-profile figures in the film making industry have sought-out to revive the old classics and the seemingly forgotten relics of the film making industry. Here's what they are doing to preserve our classic films methods.
Enter, The Trio - three (3) directors/screenwriters/producersHigh-profile figures like Christopher Nolan, Wes Anderson, and Steven Soderbergh, 'The Trio', have stood their ground to produce rare movies like the quality movies of yesteryear, paying little heed to CGI techs that have caused many directors of our modern-day society to compromise between budget and originality. These amazing directors have shown us the true meaning of dedication and commitment to a cause. They have not only refused to join the bandwagon of CGI-focused directors, but they have also made it a point to create true masterpieces for die-hard movie buff audiences. These directors are living instances of how we shouldn’t bargain originality and quality in the strive to produce computer-generated imagery.
What makes them stand out? – what changed for them.
Unlike the emblematic Golden Age era of Hollywood, there doesn't appear to be any remarkable legacies in 21st-century movie scenes. In all probability, the die-hard movie buffs of future generations may not have any emblematic out of print movies to look back to as classics. However, with revolutionaries like these three of today’s movie industry, there might just have a few tricks left.
Driven by old movie methods, Nolan creates rare movies using his emblematic sound and visual direction methods. In this way, creating masterpieces that are devoid of CGI signatures.
On the other hand, Soderbergh has been using his exemplary editing methods to shoot quality films that portray originality and substance. You’ll see his revolutionary methods portrayed in “Magic Mike" and others films.
Anderson methods are somewhat different from Nolan and Soderbergh’s methods; his movies are mostly inspired by old movies and out of print movies. For this reason, he is able to create symbolic movies with unconventional film making methods: The Royal Tenebaums (2001), The Grand Budapest Hotel (2014), Rushmore (1998), and many more.
Finally, film preservation is an ongoing challenge due to the high costs of preservation, the ravishes of improperly stored film damage, etc. However, these three (3) filmmakers are up to the task.
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