In a small American coal town, the disappearance of a boy draws a young miner, the lonely wife of a mine executive and a local 14-year-old together in a web of secrets.
As the annual Association of Moving Image Archivists (AMIA) Conference descends on Richmond, Virginia, this week, our spotlight is on film as an archival medium. The AMIA Conference provides an opportunity for professionals and students to meet, share information, and work together in an educational environment for audiovisual preservation. Topics being explored this year include television restoration, handling magnetic materials, open source tools and quality control, and, as always, film for archival preservation.
In today’s multi-format landscape, manufacturers, technicians and companies supporting content creation from capture to screen, and ultimately to the archives, continue to assess best practices for standardizing the process, so that the workflow elicits consistent, high-quality results.
Film is the “trick” for filmmakers who are tasked with “treating” audiences to the spooky, supernatural world of vampires, zombies and ghosts! From big screen scares to TV terror, film is the medium that creatives are choosing to bring chilling, bloodcurdling stories to “real” life.
FX’s American Horror Story is this year’s most Emmy®-nominated program. The third installment, AHS: Coven, is being shot on Kodak film by Michael Goi, ASC on locations in New Orleans. “Shooting with film gives me the freedom to move really quickly with the cameras, unencumbered by trails of cables and the technical stuff that can slow the process down,” he says. “Film also allows me to really push the envelope in terms of how dark I want to go, knowing that there is always a lot more detail on the negative.” Watch Michael and director/co-executive producer breakdown the look for AHS: Coven in this video.
Strange Tenants, the band many consider to be the godfathers of Australian ska, recently released a new music video “Who Mines the Riches.” The band dedicated the song to miners around the world, as a salute to the difficult work and conditions they deal with day in and day out. All the members of Strange Tenants come from working class backgrounds, and celebrating the working class culture is a continuing theme in their music.
The video was produced-directed by Jeff Bird, and photographed by cinematographer Edward Goldner. It was shot on location at an abandoned gold mine in Smeaton, Victoria.
Several weeks ago I embarked on my new role as Film Laboratory & Studio Relationship Manager. No doubt, we have all observed some significant changes in image capture and distribution formats, particularly in the last couple of years. And we have seen these changes impact the supporting film infrastructure, such as laboratories.
But our recent assessment of labs has revealed that there is an impressive 111 motion picture labs globally that commercially offer processing for 35mm color negative film. We counted over 100 labs still offering 16mm negative development, and exactly 100 of these labs also offer 35mm color print development.