Student Filmmakers - June 2008 - (Page 47) Even though digital projection is currently available, without a business model to change all movie theaters over from 35mm film to digital projection, at a cost of more than $150,000 per theatre, film prints still need to be struck. Distributors and exhibitors are still struggling over who should pay for this expense. Film stock changed its format once in 100 years. Whereas video has changed 50 times in that many years. And how about trademark and password protection and encryption verses $12,000 per year over 10 years to archive a digital master feature. That is 10 times the cost for protecting a digital library. When a new technology first enters the marketplace, bells from all quarters are sounded. Attention is paid. People sign on quickly. And technology has encroached on the film business rapidly. But, though this revolution is still being waged, there will be another, perhaps even more seductive, revolution to follow and another and another. And that is what evolution is all about. technology still being researched, I feel my concerns about copyright are genuine. The library of Congress insists on 35mm film as the best means to preserve our moving image national heritage. Starting in the 1950s, the Library began to rephotograph paper prints to convert them back into films again. Initially onto 16mm film and then onto 35mm film. The digital preservation project initiated in the 1990’s has been impetus to make more 35mm prints of national works in order to have a superior digital image from which to work. The Academy of Motion Picture Arts and Sciences has concluded a study in 2007 that it costs $1200 per year over 10 years to archive and preserve a 35mm negative copyright. A negative is a physical entity. It lasts over 50 years and the new stocks may last hundreds of years. A digital project resides on a server. And with watermarking, June 2008 studentfilmmakers http://www.studentfilmmakers.com
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