Entendo o choque de muitos, mas acredito que isso se tornará cada vez mais comum entre famosos e anônimos. O celular é o HD externo da alma. Chegou no ponto em que o debate moral não é suficiente para compreender a Era da Performance.
minuscula causa de todo dia: PAREM DE USAR PLOT PRA FALAR DE PLOT TWIST!!!!
> plot = enredo
> twist = virada
a grande virada no enredo que vcs falam eh O TWIST PORRAAAA nao eh o plot 😭
Educative minute:
Film twitter, please know that all these "amateur 35mm scans" comparison are deceptive.
1. Films are made of atoms (nitrate, acetate, polyester), and unlike digital data, they are vulnerable to entropy like everything else.
2. For the same movie, not all theatrical projection prints were made with the same process. Most were poor quality with short shelf-life (6 years according to Martin Scorsese).
3. Dye compounds are unstable, decaying at different rates over time, their colors degrading, fading & shifting. Notice how most of these "35mm scans" are bluish & faded, with contrast added in post after scanning.
4. Even if you had a perfectly manufactured, flawlessly stored & maintained, and masterfully scanned film, digitalization remains an interpretation process. A projected film is pure light, and mapping a RAW capture to the displayable dynamic range of screens is a subjective process, not a perfect science.
So never interpret these 35mm scans as "how a film was supposed to look". No two surviving 35mm films look the same, and none look the way they did at release.
These are just films degraded by hundreds of theatrical runs & decade of chemical decay. This organic "instagram filter" evokes a certain nostalgia, but it's an illusion.
There is no pristine original to go back to. Even the original negatives stored by studios require month of digital cleaning to be considered "usable".
It's all a subjective process.
Hoje, muitos vídeos hoje usam IA para criar e/ou recriar cenas de filmes. Mas, em 1995, muito antes disso, Martin Scorsese e Francis Ford Coppola ajudaram a restaurar e relançar I Am Cuba (1964), do cineasta soviético Mikhail Kalatozov.
Scorsese a considera uma obra-prima do cinema - e esta célebre cena em plano-sequência deixa claro o porquê.