Communion: The Cinema of the Monomystical
When it comes to funding, advertisers have traditionally enabled many of the most ambitious, experimental, and sometimes outrageous ideas that creatives dream up. Yet the rise of insight and stats driven decisions fueled by big data, coupled with the economic unease of the late 2000’s, has led to a leaner and more risk-averse industry.
Which begs the question, is this the moment for brands to invest in VR?
The Circular Image Sensor
When you google “hero’s journey,” the first result is a Wikipedia entry for Monomyth. Monomyth is the basic formula for narrative structure theorized by Joseph Campbell, the textbook example being STAR WARS (1977), and is synonymous with the hero’s journey. Where is the Wikipedia entry for films that employ non-traditional narrative modes?
The Case Against Compression
As we start to go emulsion-free, we can shed — or at least rethink— all the conventions built around the physical film medium. One of those conventions is sensor shape. Motion picture film dictates a rectangular frame due to its physical constraints, but digital sensors are fundamentally different and don’t suffer from the necessity of physically pulling each frame into position.
Cinematography costs money. I sometimes think of my craft as being as straightforward as writing, but that every word I use costs money. Indeed, if each kind of shot — static, handheld, dolly, crane, steadicam, helicopter — carries meaning within the visual language of cinema (and they do), then they are very much like words. And they all have an associated market rate. Imagine how dull a piece of writing would be if the author couldn’t “afford” adjectives, or how boring a specific adjective would become if the author could only afford a few of them, having to repeat them. This is all too often the case within the world of low-budget cinematography.