I miss the atmosphere that shooting film created on set. I don’t miss worrying in the middle of a take that the mag might run out of film because I’d underestimated the length of the shot. I don’t miss the calls from the lab in the middle of the night telling me that a reel was scratched, or that there was a problem with the bath and we’d lost footage. I shot my first two feature films on Kodak film, with a traditional film edit, neg cut, and film grade - not even a DI.īut the quality, availability and affordability of digital cameras developed very rapidly, and my last three feature projects have all been shot digitally.ĭo I miss film? Well, I certainly don’t miss the cost. Of course at the time, we all wanted to get on with the ‘artistry’ of film-making, and were frustrated by the endless lectures on the use of the light-meter and the chemistry of film, but of course, like so many things in life, one ends up valuing those lessons from the past.
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From day one, we were taught how to work with film cameras, Nagra sound recorders, and film editing benches.
At the London International Film School in the late 80’s, we never touched a video camera. I was perhaps amongst the last generation to study film-making with a syllabus that was totally based around analogue film. Replay: Here's how one filmmaker eschewed the use of Log in favour of lighting to get the result he wanted in camera, by using techniques that were once the preserve of film shooting.
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