Dante Spinotti on tech­nol­ogy, new work­flow, di­rec­tors’ per­son­al­i­ties

Kuwait Times - - TECHNOLOGY -

LOS AN­GE­LES: BYDGOSZCZ, Poland-Dante Spinotti, who served as a ju­rist on this year’s Cine­matog­ra­phers’ De­buts Com­pe­ti­tion at the Camer­im­age film fes­ti­val, is a firm be­liever that chang­ing tech­nol­ogy ben­e­fits film­mak­ing at all lev­els.

The Ital­ian-born DP, who has cred­its that go back to the 1970s, says that the ad­vent of digital tools has de­moc­ra­tized en­try into the pro­fes­sion as small, in­ex­pen­sive, and eas­ily avail­able cam­eras have made it pos­si­ble for any­one to cre­ate mov­ing im­ages.

But if tech­nol­ogy is more plen­ti­ful, ta­lent is not. “What has not changed is that good ideas are just as dif­fi­cult as they’ve al­ways been. Any­one can push a but­ton, but what’s im­por­tant is what’s in­side their heads.” Spinotti’s en­thu­si­asm for digital ex­tends all the way from pro­duc­tion through ex­hi­bi­tion.

For ex­am­ple, he wel­comes the pres­ence of on-set mon­i­tors and how di­rec­tors and crew to­day can view and eval­u­ate ma­te­rial im­me­di­ately af­ter shoot­ing it. “I’m happy to see dailies when I’m shoot­ing,” he pro­claims. “I don’t want to wait 15 hours. I’ll choose any­thing that takes me there faster.”

This new, more rapid work­flow has slightly al­tered the ex­alted sta­tus of the cin­e­matog­ra­pher, he ad­mits. “We used to be the bish­ops on the movie set. We did the sign of the cross at the end of the day and said ‘go in peace be­cause we will see beau­ti­ful things in the screen­ing room.’ But to­day every­one can look at the mon­i­tor.”

But that con­ve­nience, he says, while speed­ing things up and mak­ing the process more ef­fi­cient, does not in any way min­i­mize the cin­e­matog­ra­pher’s role. “Our con­tri­bu­tions re­main just as im­por­tant.”

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