On the other side of the world, Film Ferrania (a new company resurrecting equipment from the old Ferrania film factory) in Italy launched a $250,000 Kickstarter campaign (so far wildly successful) to reopen their film production facilities and start producing color reversal film–both 35mm and medium format still camera film, as well as Super8 and 16mm motion picture film.Įarlier this fall we spoke to George Campbell of ORWO North America, the North American sales division of ORWO FilmoTec GmbH. Nolan’s Interstellar will open two days early on 35mm, 70mm, and 70mm IMAX, and the Weinstein Company announced that Tarantino’s The Hateful Eight would see the widest 70mm release in 20 years (presumably referencing Ron Howard’s Far and Away). (Chicago’s last remaining 35mm-only second-run house, The Brew & View, announced its own digital conversion two weeks ago.)Īt the same time Christopher Nolan, Quentin Tarantino, and others convinced major studios to place enough minimum orders with Kodak to keep film-on-film production a possibility for at least a few more years. Seeing a first-run movie in 35mm is now such a rarity that we drove all the way to Madison to see the Liam Neeson thriller Non-Stop on film.
(We got a couple splicers, other forward-thinking institutions purchased what they could, and much was scrapped). Deluxe and Technicolor have closed their main film production labs and auctioned off all their equipment. In the past year, Kodak has announced the discontinuation of several 16mm stocks. Depending on who you talk to, motion picture film is either dead, floundering, or very much alive.