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I was reading Cannes 2021 line-up features 20 new films shot on KODAK Film and the following caught my attention:
Source: https://www.kodak.com/en/motion/blog...1-shot-on-film
Super16mm is enjoying particular resurgence with 11 titles choosing its distinct look as their preferred capture medium including the partnerships of director Sean Penn and cinematographer Daniel Moder on Flag Day, and director Sean Baker and cinematographer Drew Daniels on Red Rocket. Both films are competing in the main competition.
“Film has a signature that is hard to replicate. I think it really has a forgiveness similar to the way our mind sees things. This story takes place in the 1970s and a little bit of the 1980s," said Daniel Moder (Flag Day). "One of the first demands Sean made was it had to be on film and everyone was onboard. The choice for 16mm was even better since the look is undeniably film. A lot of the references that Sean gave me were things that had this filmic look and deep blacks. Sean didn’t want me locked in a DI tent either. We had no playback. There was throwback to a classic system of making a movie on set. There was limited access to the monitors on set. It really allowed us to keep moving forward and have faith! It made for a creative and efficient workspace.”
Recent years have seen a steady rise in nominations and recognition for productions shot on film at the festival moving from 9 films in 2016, 10 films in 2017, to 13 in 2018 and the highest previous total of 17 in 2019.
“Film has a signature that is hard to replicate. I think it really has a forgiveness similar to the way our mind sees things. This story takes place in the 1970s and a little bit of the 1980s," said Daniel Moder (Flag Day). "One of the first demands Sean made was it had to be on film and everyone was onboard. The choice for 16mm was even better since the look is undeniably film. A lot of the references that Sean gave me were things that had this filmic look and deep blacks. Sean didn’t want me locked in a DI tent either. We had no playback. There was throwback to a classic system of making a movie on set. There was limited access to the monitors on set. It really allowed us to keep moving forward and have faith! It made for a creative and efficient workspace.”
Recent years have seen a steady rise in nominations and recognition for productions shot on film at the festival moving from 9 films in 2016, 10 films in 2017, to 13 in 2018 and the highest previous total of 17 in 2019.