Proliferation In Hardware & Content For Institutions &

Audiences
Proliferation is how technology has evolved and improvements have affected the ways in which
films are made and distributed today.
There have been several changes in technology in the past 20 years – from DVDs & flat screen
TVs to cameras, cell phones etc. In film technology we are now able to produce computer
generated imagery (CGI) much better than we did centuries ago. It is the application field of 3D
computer graphics (special effects) and this produces a more lifelike feel to animation. Now we
can also view films in 3D with 3D glasses as well as being able to view it at home. It is also
coming to our computer screens.
An example of a movie that was released in 3D, at the cinema, was Tim Burton’s Alice in
Wonderland. High Definition (HD) is another example of how technology has improved, it is an
increase in display or visual resolution that has effected television, video, audio and the media
in general.
The Digital Screen Network was created by the UK film council and Arts Council England. It was
a £12 million investment that aimed to equip 240 screens in 210 cinemas across the UK with
digital projection technology to give UK audiences a much greater choice. It allows audiences to
have the chance to watch independent films that are not normally shown as they are hard to
come by, as it costs too much to print film. Also, it gives more of a chance for the film to bring in
different audiences. “This is England” is an example of a non-mainstream film that was screened
across the country with DSN.
Technology comes at a price and this means small independent film makers may struggle with
having considerably low budgets. Film technology can be extremely expensive and range from
over million of dollars, pounds, etc.
For example, Monsters (2010) was edited using adobe zbrush. Small art houses make films
using DV cameras as they cannot afford 35 mm and IMAX. Slumdog millionaire cost $1 million
as DV cameras were used. Alice in Wonderland cost a huge £158 million to make their budget
was £200 million whereas “This is England” had a budget of £1.5 million.
The audience’s ability to interact with films by, for instance, using digital technology to put
extracts on You Tube and overlay new sound tracks on them, etc. and make answering videos
has been greatly enhanced by Web 2.0; Film studios can make films using CGI, green-screen and
other special effects that were impossible to make only a few years ago
COMPARATIVE CASE STUDIES
The Martian (2015), for example, is one which was required to utilize a series of advanced
equipment in order to justify the sec-fi plot it propagated. The production team relied on tablet
AR tools and techvis and simulcam solutions for virtual production during the shoot. GoPro
footage was also used to form key final shots in the film alongside the primary native stereo RED
camera footage. Principle vendor MPC developed a special compositing tool to quickly deal with
the blue skies of Jordan and turn them into appropriate Mars landscapes. Framestore
capitalized on its Gravity experience to deliver photoreal CG spacecraft’s and characters.
The Grand Budapest Hotel (2014), a British Film, collaborated with ARRI Film & TV services,
Berlin, Germany for the visual effects. The film was shot on 200 ASA film stock and, in some
instances, anamorphic lenses were used, which meant adequate aperture was needed. The film
employed miniature models for exterior shots instead of CGI, and the particular equipment
chosen for the production was an Arri 35 mm camera, Kodak Vision 200T color negative
filmstock, Red Epic, and a Cannon 5D Markll. The Red and Cannon digital cameras were used for
the miniature and stop motion sequences, while the rest of the film’s action was captured in
analog glory. The team opted to use natural light whenever possible, and they also employed
lots of “practical’s” such as chandeliers and lamps; methods now considered rather outdated in
the film industry. The piece was distributed over DVD, Blu-ray and internet streaming to
incorporate a larger audience base. However, one important fact to consider is that The Grand
Budapest Hotel can be categorized as a film of a genre that does not necessarily need the latest
breakthrough in digital technology in order for it to be successful.
LIMITATIONS OF TECHNOLOGY
Because of the technological advancements, file-sharing and piracy have become growing
issues because the software exists to take the protective encryption of DVDs, etc. and WEB 2.0
enables people to make and share copies of films easily. Film companies are therefore, trying to
get around this is by releasing films soon after theatrical release by selling them on video on
demand, premium TV channels and downloads. US and UK cinemas and chains are not happy
about this, especially after all the investment some have made on digital equipment, projectors
etc. which unfortunately quickly goes very quickly out of date. Another issue linked to such
equipment is one regarding the UK cinema which has to face even greater losses for it lags
behind the US industry in purchase.
The exhibition of film has become a lot more diverse with technological convergence, and
cinema audiences are being lost to this popular, cheaper and usually more illegal way to view.
Nowadays it’s not only in cinemas that an audience is able to view a new film but also through
streaming on internet sites and renting through TV boxes (e.g. sky and virginmedia). There is
more hardware available meaning that companies can exhibit online using web 2.0, such as
Netflix and LoveFilm. There is more hardware for media to be consumed on, meaning more
exhibitors can view films. Due to hardware proliferation, projectors are widely available at a
lower cost. Cinemas can also run more screens as they can have more projectors. However, the
proliferation of hardware means that there are more ways in which consumers can watch films,
and the exhibitors such as cinema owners are impacted. Exhibitors therefore need to improve
their viewing experience and as a result spend more money.
Technological convergence had made it simpler for independent filmmakers such as Jake Wynne
to expose themselves on websites such as Vimeo and gain professional feedback from real
filmmakers whilst making their name. The technology available now allows amateurs to access
quality equipment and programs that don’t cost a lot and produce professional quality features.
The use of the digital format allows these short films to be easily attached to the beginnings of a
full length features in independent cinemas such as The Phoenix cinema in Leicester. And then
in turn, cinemas like the Phoenix, advertise themselves online to attract a more substantial
audience.
It can be concluded that technological convergence is extremely important for both institutions
and audience. It allows both to progress in the variety of ways. Films are made and viewed and
this just helps make film bigger, better and more well known. The negative of convergence, such
as increased piracy and diversifying of formats is an insignificant price to pay in the scale of
cinema as a whole.