President’s Desk — December 2024
“Film is truly a contributor to the idea that movies are handmade.”
The past few days have been spent conducting our ASC Master Class, focusing on FILM. In speaking to many of the attendees, I found myself articulating my feelings for what shooting film has meant to me for much of my cinematographer’s journey — and my thoughts on the relationship every cinematographer has with this time-honored creative palette.
At first glance, film seems almost impossible. Simply stated, the technology of light-sensitive layers, silver-halide crystals and dye couplers suspended in a gel seems so delicate. Once exposed, film goes through equally impossible lab steps. Negative reels are assembled in total darkness, by hand, and then stapled, notched and processed — which is enough to make the entire endeavor seem somewhat risky.
The contact print and associated processing steps are repeated once again (in total darkness) to make the projection print. Throughout this procedure, film has a required attachment to people. It is escorted by someone through every step of its production life — the loader, camera assistants, drivers, lab-processing technicians and color timers. Eventually, the film winds up in the hands of the lab projectionists.
Film is truly a contributor to the idea that movies are handmade.
Film becomes a large part of how we think and learn. It brings with
it a legacy of respect and reverence. The set is quieter on a film
shoot, where crewmembers are a bit more aware of the delicacies
involved. The format carries a resonance that can be felt, touched and
smelled — and it manages to show us something magical and unexpected
that even the most seasoned cinematographer may receive as unforeseen
riches.
Our relationship with the medium — which rewards us for taking the
extra effort to study its construction, treat it with respect on set,
and give it the human contact it deserves — is something truly magical
indeed.
Best regards,
Shelly Johnson
ASC President
