Skyfall First Bond film shot in digital

Yes sadly it is true. Deakins is using the Arri Alexa so as good as his cinematography will likely be, it won't have that unique movie magic that only 35mm film can provide.

For a long while I was rather suspect of digital projection and filming in high def digital as opposed to 35mm. I still believe that 35mm source materials and 35mm projection are still the superior formats...when done properly and of course that's the caveat. I'm a pretty big film buff in general and very picky about the theatres/cinemas I frequent. Unfortunately many modern multiplexes have indifferent to poor presentation....films projected out of focus, projector bulbs turned down to extend there life resulting in dull, murky images on screen, teenage employees running things instead of experienced trained projectionists etc, etc. After having experienced several films projected digitally (Sony 4k) I was really impressed with the overall image quality and just as importantly running those projectors apparently is much simpler in execution than a proper 35mm presentation so for all intents and purposes it's harder for the bozos to muck up. As far as filming in Hi Def Digital, I trust Roger Deakins. If he's comfortable with the format, then I think the results should be fine. While I am dead set against a 3D Bond film, I would like to see some IMAX presentations of "Skyfall". It's about the closest thing we have today to the old 70mm presentations of the 50's, 60's and early 70's.

According to what I have been reading on the net and Deakins own website, Deakins is a big proponant of shooting in Hi Def Digital and it was his choice to film "Skyfall" using that format. Deakins also is a firm believer in judging the quality of the format by how it looks to the human eye when projected on the big screen (not what the technical "specs" say) and Deakins believes that the Arri Alexa camera can yield a final projected image that is equal to 35mm film, especially in the "scope" aspect ratio of 2.35 to 1. For a reference, the recent film, "Drive" was shot with the Arri Alexa in the 2.35 to 1 format by Cinematographer Newton Thomas Sigel. I saw "Drive" in a theatre with excellent projection and had no idea at the time it was shot digitally and not on film. I don't think we have anything here to worry about.

Here is an interview in three parts in which Roger Deakins talks about going digital with the Arri Alexa on In Time and Skyfall, image quality, Master Prime lenses, Alexa's optical view finder, the IMAX blow-up for Skyfall, the 'resolution race' and texture in his images.

A conversation with Roger Deakins - part 1
http://www.youtube.com/watch?v=GBvA1ChE … ure=relmfu

A conversation with Roger Deakins - part 2
http://www.youtube.com/watch?v=5Lh69p5g … ure=relmfu

A conversation with Roger Deakins - part 3
http://www.youtube.com/watch?v=00OGyWAD … ure=relmfu

Watched the interview with Roger Deakins and was able to glean some interesting information regarding the IMAX version of "Skyfall". Apparently Deakins was extremely satisfied and impressed with the Digital IMAX footage which in his opinion looks pretty amazing. He didn't seem as ecstatic about the IMAX 70mm film blow-up tests, finding it a bit too "grainy". The other interesting fact was regarding the aspect ratio of the Digital IMAX presentations. Deakins was so impressed with the Digital IMAX test footage that it was decided to format the Digital IMAX version to take advantage of the full height of the Digital IMAX screens, approx 2.0 to 1 as opposed to the traditional 2.35 to 1 scope ratio that the regular version will be screened. Do not fret however as the 2.0 to 1 Digital IMAX version will not be cropped on the sides but actually add picture to the top and bottom. He is very clear in the interview that "Skyfall" was purposely composed this way during filming to accommodate both aspect ratios.

One other bit of good news was Deakins confirming that very little CGI was used for the stunts and action scenes....no CGI'ed people, etc. Deakins went on to say that Mendes wanted as much of the effects and action to be captured "in camera" as possible and that Daniel Craig did a significant amount of stunt work himself.