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August Commentary from George Spiro Dibie Are
You Afraid of Digital Cameras? Some of you have probably already read the front-page story published by the Los Angeles Times on July 11 that reported that cinematographers and directors are "terrified" of high-definition digital cameras. The two reporters who researched and wrote that story asked, "What happens if you lack the skills to tell stories in a world in which the narrative tools have fundamentally changed?" After asking that rhetorical question, the reporters tell readers that careers will come to an end--just like the actors who didn't have the talent to make the transition from silent movies to "talkies." The Times also reported that a major benefit of high-definition cameras is that they allow you to monitor "mistakes" without having to wait for film dailies. They wrote that high-definition monitors will allow producers to eliminate "costly reshoots" by catching such "common mistakes" as cameras not being properly loaded, catering trucks accidentally framed in the backgrounds of scenes and images being blown out by bright "spotlights." The reporters didn't inform their readers where they got that information. Here is a hint. It was the third story they wrote during the past several months with a Nicasio, California dateline, the mailing address for Lucasfilm. We responded by telling the reporters and editors of the Times that our members aren't afraid of any technology. What scares us is newspapers that print marketing hype disguised as truth. Who are they talking about? How many times have you been involved in a costly reshoot because somebody loaded a camera wrong or failed to notice a catering truck in the background? Have you ever blown out the images on film because you failed to notice a glaring "spotlight?" The Times article implies that these are everyday occurrences. Chances are that digital technology will become a more important factor in our careers. More TV programs and motion pictures will probably be produced in digital format. It is also likely that as costs come down, more motion pictures will be timed in digital suites. Neither of these trends will confound our members. They also won't make cinematography an easier job requiring less skill or talent. During recent months, we have conducted digital HD training sessions in various cities around the country for many members who have acquired new skills. Many of our members are currently working on narrative TV programs being produced in high-definition video format. I am proud to report that their pay and benefits are based on the film contract. That happened because your Guild made a concerted effort to convince studio management that it requires the same talent, experience and skill to work with film and digital cameras. We won the first round of that battle, but we must be diligent and persistent to overcome the marketing driven challenges that are certain to come. We have established a special area here on our website called Fight the Digital Hype. That page provides access to the July 11 Los Angeles Times article, some of our responses, and information about how you can let the reporters and editors know how you feel about their irresponsible reporting. I encourage you to also urge your friends who are directors, editors, production designers, ADs and PAs to get the facts and make their feelings known. And finally, I would like to thank all of the members who are shooting over 25 HD 24p shows for going through the Guild's training sessions in becoming qualified to do these shows. As always, I look forward to your comments and suggestions. Please e-mail them to me. George Spiro Dibie, ASC |