D.W. Leitner has more than 50 directing, producing, and cinematography credits in feature-length documentary and dramatic films produced in the U.S. and abroad.

Archive for March, 2010

20: Sundancing Part 4, HDSLR Rebellion in Park City

Illya Friedman of Hot Rod Cameras at Sundance, previewing prototype PL-mount adapter for Canon EOS 7D. Dual Grip Hand Held kit is in foreground.

Illya Friedman of Hot Rod Cameras at Sundance, previewing his prototype PL-mount adapter for Canon EOS 7D. Dual Grip Hand Held kit is in foreground.
Photo D.W. Leitner

Before the lights dimmed at each Sundance premiere this year, a ribbon of text resembling a CNN news ticker marched across the lower third of the empty screen: “This is the recharged fight against the establishment of the expected.� “This is cinematic rebellion.� “This is the renewed rebellion.�

Virtually identical ad-speak marked the launch of Red Digital Cinema’s Red One in 2006. Red honcho Ted Schilowitz’s business card even read “Leader of the Rebellion.â€? Which raised eyebrows in an industry skeptical of H. R. Giger design if not pointed abandonment of conventional camera technology.

Calling yourself a rebel is like calling yourself a maverick—an exercise in preening if not brand marketing. Insurrection is serious business. Breaking with convention risks breakdown of convention, revolution sows chaos; both inflict unforeseen consequences. Which brings me to HDSLRs.

With Sundance receding in the rearview mirror and the gravitational pull of NAB upon us, I want to share one last bit of business from Sundance concerning these small cameras with supersized sensors—a topic that will figure prominently in any discussion of new digital cameras at Las Vegas two weeks from now. more

19: Sundancing Part 3, In the Kingdom of Shadows with the Redoubtable Mr. Murch

what-if.jpg

“What if Cinema had been invented 100 years earlier?� asks editor extraordinaire Walter Murch.
Photo D.W. Leitner

What if Cinema had been invented 100 years earlier, in 1789 not 1889?

Who would ask such a question?

If you’ve read his ontological discourse on editing, In the Blink of an Eye, or novelist Michael Ondaatje’s book The Conversations: Walter Murch and the Art of Editing Film, you know the answer to the second question. (Ondaatje also wroteThe English Patient.)

Walter Murch is many things: poet-philosopher of the Moviola and lately Final Cut Pro, the guy who coined “sound designer,� recipient of two Oscars for sound mixing and one for editing for the likes of The Conversation, American Graffiti, Julia, Apocalypse Now, The Godfather (parts II and III), The Unbearable Lightness of Being, Ghost, The English Patient, The Talented Mr. Ripley, and Cold Mountain. more

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Leitner's Cinematography Corner is a new destination for reviews, blogs, notes, and opinions from longtime millimeter Contributing Editor David Leitner, who also happens to be an award-winning director, producer, and cinematographer of independent films showcased at film festivals like Sundance and Berlin. Leitner argues that since everything's now digital outside of cameras and projectors that shuttle celluloid, "digital" has lost its cachet. Leitner's Cinematography Corner will instead frame innovations in production gear as the latest advances in the long march of motion-picture technology, well over a century old. And never lose sight of the fact that technology is a means to an end, not an end in itself.

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