And this... That was ten years ago. Since then, shifts in equipment have only accelerated that process. By today's standards, the Sony F900 camera is very primitive, meaning, it's... The chip that was behind the lens was quite small. Now, those chips are much bigger, much more defined, and so you can blow things up even more. And that has precipitated a shift in filmmaking, whose implications are profound. We don't really know where it's going yet, but it is pretty well-entrenched now that, with many exceptions, we are talking not about shooting, but another term called 'acquisition', which is kind of a weasel word. It's not a very good word. But it means we're getting something with which we are going to do something later. This is not the final version.
And really, what it is, is an extension of the act of film-making into the individual frame itself. In a sense, you can think about normal film editing as horizontal, which is to say, we have a series of shots, and we are going to put these shots in a certain order, or put them in a slightly different order, but we are rearranging something on a horizontal line. Now, think vertically. Here is a shot, and now we are editing within the shot. We are recomposing the shot, sometimes, dynamically, meaning, it's not just a simple enlargement, we are enlarging and moving the focus at the same time. And more and more, this is happening. And more and more films are being shot intending that this will happen.
