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List in progress. This list is limited mainly to "mainstream" features, where prints made through a DI would be considered normal workflow. | List in progress. This list is limited mainly to "mainstream" features, where prints made through a DI would be considered normal workflow. For the purposes of this list, "Digital Intermediate" refers to image only, rather than image and sound. This list DOES include films that used a DI for effects shots but were otherwise finished photochemically. | ||
=====2001===== | |||
*ARTIFICIAL INTELLIGENCE: AI (Steven Spielberg, 2001) ''unconfirmed'' | |||
*[http://www.theasc.com/asc_blog/goldman/2010/11/05/vilmos-and-woody-together-again/ THE CURSE OF THE JADE SCORPION] (Woody Allen, 2001) | |||
*[https://www.youtube.com/watch?v=GBvA1ChExAI#t=233 THE MAN WHO WASN'T THERE] (Joel Coen, Ethan Coen, 2001) | |||
*MOULIN ROUGE (Baz Luhrmann, 2001) ''unconfirmed'' | |||
*TROUBLE EVERY DAY (Claire Denis, 2001) | |||
=====2002===== | =====2002===== | ||
*INSOMNIA (Christopher Nolan, 2002) | *FRIDAY NIGHT (Claire Denis, 2002) | ||
*GANGS OF NEW YORK (Martin Scorsese, 2002) ''unconfirmed'' | |||
*[http://www.theasc.com/asc_blog/goldman/2010/11/05/vilmos-and-woody-together-again/ HOLLYWOOD ENDING] (Woody Allen, 2002) | |||
*[http://screenrant.com/christopher-nolan-imax-3d-cgi-mlee-164945/ INSOMNIA] (Christopher Nolan, 2002) | |||
*[http://motion.kodak.com/motion/Publications/InCamera/Wally_Pfister_is_the_KODAK_Focus_at_the_LA_Film_Festival.htm LAUREL CANYON] (Lisa Cholodenko, 2002) | |||
*MINORITY REPORT (Steven Spielberg, 2002) ''unconfirmed'' | |||
*PUNCH DRUNK LOVE (Paul Thomas Anderson, 2002) | *PUNCH DRUNK LOVE (Paul Thomas Anderson, 2002) | ||
=====2003===== | |||
*[http://www.theasc.com/asc_blog/goldman/2010/11/05/vilmos-and-woody-together-again/ ANYTHING ELSE] (Woody Allen, 2003) | |||
*HULK (Ang Lee, 2003) | |||
*[https://www.cameraguild.com/AboutUs/memberspotlightcustom/member-spotlight-tom-stern.aspx MYSTIC RIVER] (Clint Eastwood, 2003) | |||
=====2004===== | |||
*INTRUDER, THE (Claire Denis, 2004) | |||
*[http://www.theasc.com/asc_blog/goldman/2010/11/05/vilmos-and-woody-together-again/ MELINDA AND MELINDA] (Woody Allen, 2004) | |||
*MILLION DOLLAR BABY (Clint Eastwood, 2004) ''unconfirmed'' | |||
=====2005===== | =====2005===== | ||
*BATMAN BEGINS (Christopher Nolan, 2005)IMAX Prints went through DMR for 35mm scenes | *[http://screenrant.com/christopher-nolan-imax-3d-cgi-mlee-164945/ BATMAN BEGINS] (Christopher Nolan, 2005) IMAX Prints went through DMR for 35mm scenes | ||
*BROKEBACK MOUNTAIN (Ang Lee, 2005) Release prints on Fuji stock | *[http://www.studentfilmmakers.com/news/how-to/A-Conversation-with-Award-Winning-Cinematographer-Rodrigo-Prieto-ASC-AMC-3.shtml BROKEBACK MOUNTAIN] (Ang Lee, 2005) Release prints on Fuji stock | ||
*[http://www.theasc.com/asc_blog/goldman/2010/11/05/vilmos-and-woody-together-again/ MATCH POINT] (Woody Allen, 2005) | |||
*[http://www.creativeplanetnetwork.com/dcp/news/colors-munich/43150: MUNICH] (Steven Spielberg, 2005) | |||
=====2006===== | |||
*[http://www.theasc.com/asc_blog/goldman/2010/11/05/vilmos-and-woody-together-again/ SCOOP] (Woody Allen, 2006) | |||
*[http://www.dga.org/Craft/DGAQ/All-Articles/1202-Spring-2012/DGA-Interview-Christopher-Nolan.aspx THE PRESTIGE] (Christopher Nolan, 2006) | |||
=====2007===== | =====2007===== | ||
*THERE WILL BE BLOOD (Paul Thomas Anderson, 2007) | *[http://www.theasc.com/asc_blog/goldman/2010/11/05/vilmos-and-woody-together-again/ CASSANDRA'S DREAM] (Woody Allen, 2007) | ||
*[http://www.theasc.com/ac_magazine/January2008/ThereWillBeBlood/page2.php THERE WILL BE BLOOD] (Paul Thomas Anderson, 2007) | |||
=====2008===== | |||
*[http://www.theasc.com/asc_blog/goldman/2010/11/05/vilmos-and-woody-together-again/ VICKY CRISTINA BARCELONA] (Woody Allen, 2008) | |||
=====2009===== | =====2009===== | ||
*DARK KNIGHT, THE (Christopher Nolan, 2008) IMAX Prints went through DMR for 35mm scenes | *[http://screenrant.com/christopher-nolan-imax-3d-cgi-mlee-164945/ DARK KNIGHT, THE] (Christopher Nolan, 2008) IMAX Prints went through DMR for 35mm scenes | ||
*[http://www.theasc.com/asc_blog/goldman/2010/11/05/vilmos-and-woody-together-again/ WHATEVER WORKS] (Woody Allen, 2009) | |||
=====2010===== | =====2010===== | ||
*INCEPTION ( | *[http://www.theasc.com/asc_blog/goldman/2010/11/05/vilmos-and-woody-together-again/ YOU WILL MEET A TALL DARK STRANGER] (Woody Allen, 2010) | ||
*[http://www.studiodaily.com/2010/07/editing-inception-for-a-photochemical-finish/ INCEPTION] (Chirstopher Nolan, 2010) | |||
=====2012===== | =====2012===== | ||
*DARK KNIGHT RISES, THE (Christopher Nolan, 2012) IMAX Prints went through DMR for 35mm scenes | *[http://screenrant.com/christopher-nolan-imax-3d-cgi-mlee-164945/ DARK KNIGHT RISES, THE] (Christopher Nolan, 2012) IMAX Prints went through DMR for 35mm scenes | ||
*[http://www.studiodaily.com/2012/09/films-not-dead-yet-part-2-fotokems-workflow-for-the-master-in-70mm-35mm-and-4k/ MASTER, THE] (Paul Thomas Anderson, 2012) 70mm prints and ''some'' 35mm prints did not use a DI | *[http://www.studiodaily.com/2012/09/films-not-dead-yet-part-2-fotokems-workflow-for-the-master-in-70mm-35mm-and-4k/ MASTER, THE] (Paul Thomas Anderson, 2012) 70mm prints and ''some'' 35mm prints did not use a DI | ||
=====2014===== | =====2014===== | ||
*[http://motion.kodak.com/motion/Publications/InCamera/Sections/The_StoryBoard/Pfister_and_Hall_Go_Above_and_Beyond_in_Transcendence.htm TRANSCENDENCE] (Wally Pfister, 2014) | *[http://motion.kodak.com/motion/Publications/InCamera/Sections/The_StoryBoard/Pfister_and_Hall_Go_Above_and_Beyond_in_Transcendence.htm TRANSCENDENCE] (Wally Pfister, 2014) | ||
*[https://interstellar.withgoogle.com/ways-to-see INTERSTELLAR] (Christopher Nolan, 2014) IMAX prints went through DMR for 35mm scenes; 35mm prints went through a DI for IMAX scenes only; 5-perf 70mm prints were entirely photochemical. | |||
=====2015===== | |||
*[https://twitter.com/thehatefuleight/status/679469016671502336 THE HATEFUL EIGHT] (Quentin Tarantino, 2015) | |||
[[Category:Film prints]] | |||
[[Category: Fun]] |
Latest revision as of 15:54, 4 April 2017
List in progress. This list is limited mainly to "mainstream" features, where prints made through a DI would be considered normal workflow. For the purposes of this list, "Digital Intermediate" refers to image only, rather than image and sound. This list DOES include films that used a DI for effects shots but were otherwise finished photochemically.
2001
- ARTIFICIAL INTELLIGENCE: AI (Steven Spielberg, 2001) unconfirmed
- THE CURSE OF THE JADE SCORPION (Woody Allen, 2001)
- THE MAN WHO WASN'T THERE (Joel Coen, Ethan Coen, 2001)
- MOULIN ROUGE (Baz Luhrmann, 2001) unconfirmed
- TROUBLE EVERY DAY (Claire Denis, 2001)
2002
- FRIDAY NIGHT (Claire Denis, 2002)
- GANGS OF NEW YORK (Martin Scorsese, 2002) unconfirmed
- HOLLYWOOD ENDING (Woody Allen, 2002)
- INSOMNIA (Christopher Nolan, 2002)
- LAUREL CANYON (Lisa Cholodenko, 2002)
- MINORITY REPORT (Steven Spielberg, 2002) unconfirmed
- PUNCH DRUNK LOVE (Paul Thomas Anderson, 2002)
2003
- ANYTHING ELSE (Woody Allen, 2003)
- HULK (Ang Lee, 2003)
- MYSTIC RIVER (Clint Eastwood, 2003)
2004
- INTRUDER, THE (Claire Denis, 2004)
- MELINDA AND MELINDA (Woody Allen, 2004)
- MILLION DOLLAR BABY (Clint Eastwood, 2004) unconfirmed
2005
- BATMAN BEGINS (Christopher Nolan, 2005) IMAX Prints went through DMR for 35mm scenes
- BROKEBACK MOUNTAIN (Ang Lee, 2005) Release prints on Fuji stock
- MATCH POINT (Woody Allen, 2005)
- MUNICH (Steven Spielberg, 2005)
2006
- SCOOP (Woody Allen, 2006)
- THE PRESTIGE (Christopher Nolan, 2006)
2007
- CASSANDRA'S DREAM (Woody Allen, 2007)
- THERE WILL BE BLOOD (Paul Thomas Anderson, 2007)
2008
- VICKY CRISTINA BARCELONA (Woody Allen, 2008)
2009
- DARK KNIGHT, THE (Christopher Nolan, 2008) IMAX Prints went through DMR for 35mm scenes
- WHATEVER WORKS (Woody Allen, 2009)
2010
- YOU WILL MEET A TALL DARK STRANGER (Woody Allen, 2010)
- INCEPTION (Chirstopher Nolan, 2010)
2012
- DARK KNIGHT RISES, THE (Christopher Nolan, 2012) IMAX Prints went through DMR for 35mm scenes
- MASTER, THE (Paul Thomas Anderson, 2012) 70mm prints and some 35mm prints did not use a DI
2014
- TRANSCENDENCE (Wally Pfister, 2014)
- INTERSTELLAR (Christopher Nolan, 2014) IMAX prints went through DMR for 35mm scenes; 35mm prints went through a DI for IMAX scenes only; 5-perf 70mm prints were entirely photochemical.
2015
- THE HATEFUL EIGHT (Quentin Tarantino, 2015)