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List of post-2000 films made without a digital intermediate: Difference between revisions

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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=====
=====2001=====
*ARTIFICIAL INTELLIGENCE: AI (Steven Spielberg, 2001) ''unconfirmed''  
*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)
*[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''
*MOULIN ROUGE (Baz Luhrmann, 2001) ''unconfirmed''
*TROUBLE EVERY DAY (Claire Denis, 2001)
*TROUBLE EVERY DAY (Claire Denis, 2001)
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=====2002=====
=====2002=====
*FRIDAY NIGHT (Claire Denis, 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://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://screenrant.com/christopher-nolan-imax-3d-cgi-mlee-164945/ INSOMNIA] (Christopher Nolan, 2002)
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=====2003=====
=====2003=====
*[http://www.theasc.com/asc_blog/goldman/2010/11/05/vilmos-and-woody-together-again/ ANYTHING ELSE] (Woody Allen, 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)
*[https://www.cameraguild.com/AboutUs/memberspotlightcustom/member-spotlight-tom-stern.aspx MYSTIC RIVER] (Clint Eastwood, 2003)


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=====2005=====
=====2005=====
*[http://screenrant.com/christopher-nolan-imax-3d-cgi-mlee-164945/ 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
*[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.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.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=====
=====2006=====
*[http://www.theasc.com/asc_blog/goldman/2010/11/05/vilmos-and-woody-together-again/ SCOOP] (Woody Allen, 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=====
*[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/asc_blog/goldman/2010/11/05/vilmos-and-woody-together-again/ CASSANDRA'S DREAM] (Woody Allen, 2007)
*THERE WILL BE BLOOD (Paul Thomas Anderson, 2007)
*[http://www.theasc.com/ac_magazine/January2008/ThereWillBeBlood/page2.php THERE WILL BE BLOOD] (Paul Thomas Anderson, 2007)


=====2008=====
=====2008=====
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=====2009=====
=====2009=====
*DARK KNIGHT, THE (Christopher Nolan, 2008) IMAX Prints went through DMR fr 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)
*[http://www.theasc.com/asc_blog/goldman/2010/11/05/vilmos-and-woody-together-again/ WHATEVER WORKS] (Woody Allen, 2009)


=====2010=====
=====2010=====
*[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.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
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
2004
  • INTRUDER, THE (Claire Denis, 2004)
  • MELINDA AND MELINDA (Woody Allen, 2004)
  • MILLION DOLLAR BABY (Clint Eastwood, 2004) unconfirmed
2005
2006
2007
2008
2009
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