To understand what is taking place in the shift from
lm to digital, one rst needs to remember what made
shooting with film such a unique experience. It was
never like any other job. From the start, there was the
eeriness of the setting: the
cavernous hall with its
sacred relics—the hard-shelled camera resting heav-
ily on a solid tripod, the lights with their barn-doors
craning down at awkward angles from suspended cat-
walks, the small microphone perched at the very end
of a long pole, the tracks on the floor that started
abruptly and led nowhere, the smoke spewing in the
air like incense. . . . As for the actual lming, it looked
and felt like a ritual whose formalized arrangements
had been set long ago. Has anyone ever stood in that
setting without being mesmerized by the choreographed
ballet involving actors and crew or by the
seemingly endless repetition of the exact same lines of
dialogue? No wonder then that even hardened veterans
felt a sense of awe every time the director called “Ac-
tion!” For all realized that something magical was
bound to take place, and one held one’s breath until
the call of “Cut!” echoed out. Reality had been exor-
cised somehow and, if all had gone well, shards of that
reality ended up on the surface of the celluloid. At the
end of the day, one was exhausted—physically, to be
incantation 마술
lack·a·dai·si·cal
- 품사
- 【형용사】
검색결과
【형용사】
un·a·dorned
장식 이 없는 ; 꾸민 데 가 없는 ,있는 그대로 의 , 간소한 .
+ 장면
sure, but also mentally—the kind of depletion one feels
when something truly transcendental has taken place.
disjunction 분리 붑녕ㄹ
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