I'm wondering how to think through some of these issues on a theoretical level,
a way of teasing out the complexities around medium-specificity, aura,
nostalgia etc. Someone mentioned hybrid works, those that bring together the
qualities of film and (digital) video and the different things that can be done
in each medium. I've been looking at some films by Thorsten Fleisch ('Wound
Footage'), Shambhavi Kaul ('Scene 32') and Makino Takashi. I was excited to see
the thread developing in this area and then disappointed to see it fade so
quickly. I love film, deeply, and lose sleep over the thought of its demise
(really!), but I wonder how film and video might be able to talk to each other,
to have the conversation that they really need to have, to work things out,
accept their differences ... I wonder how theory might follow, how our
understanding of film/video aesthetics might be changed as a result. There has
been some (well, a lot!) of work on medium-specificity in the digital era but
none of it seems to look at hybridity, especially in terms of the embodied
responses that some Frameworkers have been referring to. Does anyone know of
work in this area?
I think this has been a fascinating and inspiring thread. The voices of film
lovers should be heard. Play loud!
Kim
> Date: Sun, 28 Aug 2011 00:23:09 -0400
> From: ste...@gladstonefilms.com
> To: frameworks@jonasmekasfilms.com
> Subject: Re: [Frameworks] Analog and digital
>
> On 8/27/11 9:12 PM, Flick Harrison wrote:
>
> > I'd call film analog because each grain is exposed to a light of varying
> > colour and brightness, for any amount of time, focused by any amount,
> > then processed with more or less chemicals and time, all of which are
> > analog variables. The placement of grain on a frame is also random and
> > analog.
>
> Digital - provides a precise voltage state (either on or off) for each
> "photosite"/pixel. Here is the thing.
>
> 1. If you say digital is ones and zeroes you are referring to and analog
> representation of on and off. It isn't really ones and zeroes.
> Noise floor and strength of signal, and signal degradation will all
> affect how this is represented. In digital it is either on or off, if a
> signal is above the off state but not fully at the on state, then what?
> It is rounded either up or down to on or off. This can lead to various
> issues in either capture, or display.
>
> 2. All imagers are ANALOG. In the process of converting the light
> striking the imager (film or electronic sensor) to an electronic version
> (um analog) for storage and later display it is "sampled" and converted
> to numerical values. The more samples per second, the smoother the
> resulting waveforms will be when the digital information is reconverted
> to analog for display. The more pixels as well, equates to smoother
> transitions.
>
>
> --
> Steven Gladstone
> New York Based Cinematographer
> Gladstone films
> Blog - http://indiekicker.reelgrok.com/
> http://www.blakehousemovie.com
> http://www.gladstonefilms.com
> 917-886-5858
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