By Michael J. SchustakPublished February 09, 2017 12:33AMFor decades, film makers have used the film-by-mail format to produce their films and television shows, with the intent of transferring their digital images to film and storing them in a hard drive.
But as digital images have become ubiquitous and inexpensive, the medium has become a target for pirates and fraudsters.
Theft and copyright violations have become rampant.
In 2014, the Federal Trade Commission (FTC) reported that the number of unauthorized copies of films in digital form had reached a whopping 4.6 billion copies.
Theft of copyrighted material has grown exponentially as well.
In 2017, an estimated 7.5 billion copies of movies, TV shows, music, and other multimedia content were stolen from digital files.
In 2018, a report by the International Federation of the Phonographic Industry (IFPI) estimated that there were more than 1.4 billion unauthorized copies.
In 2020, the number jumped to 4.9 billion.
“The problem is not necessarily that the copyright owner doesn’t have a legitimate reason for owning the copyright, it’s just that the owners have been reluctant to give it up,” said Steven T. Hensley, an attorney and the director of the Internet Freedom Law Clinic at the University of North Carolina.
“What’s going on here is that there is a lot of information being kept from the copyright owners and a lot less is being done to get the information that’s being kept in the public domain,” he said.
In the years since Instax came out with Instax-based digital cameras, the industry has slowly been able to catch up with its digital brethren.
Instax film-to-digital conversion is now standard for film and TV productions and is now used in more than 120 countries.
But for filmmakers who are making feature films, it is a tricky process that requires the use of expensive equipment and specialized software.
The film-based format requires more advanced editing and digital photography, which makes it difficult for many filmmakers to get their films in the right frame of mind.
“I would never recommend that someone make a feature film with digital cameras,” said T.J. DeBose, president and chief operating officer of the Independent Film and Video Association (IFVIA), an organization dedicated to the promotion of independent film.
“There’s a real lack of knowledge on how to actually shoot in digital.
It’s not easy, but it’s certainly a viable option,” he added.”
A lot of the film makers out there don’t know anything about digital film.
It is a big step backward when you’re going from digital to film,” said Scott Anderson, the CEO of the independent film production company Naughty Dog, who has produced several feature films using digital technology.
“But I think they’re taking that step because they want to get it right.”
For those who are willing to invest in specialized software and the right equipment, however, the digital format is more than capable of delivering films that can be filmed in post-production, said Steve Zalubowski, who is the founder and president of FilmPro, a digital-film-production software company.
“It’s a whole new industry that has emerged that is going to take care of everything from post-processing to final edits to digital transfer.”
As digital cameras have become more ubiquitous and affordable, the need for a film-centric digital conversion has also increased.
Many filmmakers have embraced the digital-transfer format as a viable alternative to film.
In 2019, for example, the Independent Women’s Film Festival released a documentary about a digital production company called Fotolia.
In 2019, the first instax-enabled film produced by FilmPro was “The Way We Work,” a documentary produced by filmmakers James Dyson and Julie Crouch about the life of a digital film producer, who was able to film in the style of an Instagram post.
The filmmakers also made use of the technology to shoot a documentary of a film crew that was hired to document the filming process of a documentary, as well as a documentary film.
In 2020, FilmPro also created a documentary called “The Man With The Silver Bullet,” which explored the role of the lens in filmmaking.
The filmmaker also filmed in the digital camera style, which he describes as “an artistic way of filming.”
Filmmakers who want to produce films that look like they were made in digital format should first research the type of film they’re interested in.
Some film schools and online cinemas can offer instruction on the use and effects of digital filmmaking, while others will have a full-service digital-filmmaking studio that will work with filmmakers to create films that will look digital.
“Most people who are doing film are doing it for the right reasons, so you need to be willing to go through the entire process,” Anderson said.
“If you’re doing something like this for the wrong reasons, you need the