We’ll have some reflections on the NAB Show in our next issue, but we’ve been very interested in Ang Lee’s presentation of 120 fps material from his next feature. Whatever Peter Jackson and James Cameron’s differences of opinion about movie delivery via The Screening Room, both have championed the use of HFR in production: Jackson for his Hobbit trilogy, Cameron for his upcoming Avatar sequels. Cameron’s producer (and Big Screen Symposium speaker) Jon Landau also championed HFR at another Las Vegas industry event this month, CinemaCon.
Whatever HFR might mean for audiences, it means more a lot more data to manage for productions. When I did the math on how many gigabytes of storage a minute of 120fps at 4K would require, my kid said, “So what?” I told him that a floppy disk used to hold 1.44 megabytes.
“Dinosaurs are dead too,” he replied.
It’s been a mammoth month (see what I did there?) for NZ film.
Several titles have had run outs in cinemas, from the local premiere of David Farrier and Dylan Reeves’ Tickled at the NZIFF’s Autumn Events, the continuing theatrical runs of Crossing Rachmaninoff, Mahana and Three Wise Cousins, the post-NZIFF return of Orphans & Kingdoms and, of course, the record-munching run of Hunt for the Wilderpeople and just-opening 25 April. Outside of the NZIFF, I can’t remember seven local features playing in the same month.
Ande Schurr reflects on Hunt for the Wilderpeople while the good folk at Weta Digital talk pigs and other hairy creatures. Peter Parnham talks animating Anzacs and from other battlefields Production Designer Gary Mackay talks about Netflix’s Marco Polo, soon to air its second season.
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Keith is the editor of SCREENZ, and the co-creator and founding editor of CREWED.