{"id":8065,"date":"2022-12-22T00:00:00","date_gmt":"2022-12-21T23:00:00","guid":{"rendered":"https:\/\/instrid.sk\/uncategorized\/v-zajati-jednotiek-nul-a-kralikov-digitalnu-revoluciu-rozputala-druha-epizoda-hviezdnych-vojen\/"},"modified":"2022-12-22T00:00:00","modified_gmt":"2022-12-21T23:00:00","slug":"v-zajati-jednotiek-nul-a-kralikov-digitalnu-revoluciu-rozputala-druha-epizoda-hviezdnych-vojen","status":"publish","type":"post","link":"https:\/\/instrid.sk\/en\/archiv\/v-zajati-jednotiek-nul-a-kralikov-digitalnu-revoluciu-rozputala-druha-epizoda-hviezdnych-vojen\/","title":{"rendered":"V zajat\u00ed jednotiek, n\u00fal a kr\u00e1likov. Digit\u00e1lnu revol\u00faciu rozp\u00fatala druh\u00e1 epiz\u00f3da Hviezdnych vojen"},"content":{"rendered":"<p><strong>Filmov\u00fdm puristom sa to nebude p\u00e1\u010di\u0165, no rozmach digit\u00e1lnej technol\u00f3gie umo\u017enil tvori\u0165 \u0161ir\u0161ej mase \u013eud\u00ed. Nat\u00e1\u010danie prestalo by\u0165 v\u00fdsadou elity s finan\u010dn\u00fdm zabezpe\u010dn\u00edm a po\u010detn\u00fdm \u0161t\u00e1bom a dnes u\u017e v\u0161etko potrebn\u00e9, samozrejme, do ur\u010ditej miery, nos\u00edme vo vrecku. Zl\u00fd vtip? Nie, realita, digit\u00e1l nahradil v roku 2013 celuloid ako \u0161tandard filmov\u00e9ho priemyslu. In\u00e1 vec je scen\u00e1r, ten nenahrad\u00ed \u017eiadna technol\u00f3gia.<\/strong><\/p>\n<h2>Digit\u00e1lni \u00fato\u010dia<\/h2>\n<p>\u010caro jednotiek a n\u00fal d\u00e1vno preniklo aj do Hollywoodu, od uvedenia <strong>prv\u00e9ho digit\u00e1lne nato\u010den\u00e9ho blockbustra<\/strong> uplynulo dvadsa\u0165 rokov. Za\u010dalo sa to na Skywalkerovom ran\u010di v apr\u00edli 2002, ke\u010f sa <strong>George Lucas<\/strong> chystal na premi\u00e9ru <strong>Hviezdnych vojen: Epiz\u00f3da II &#8211; Klonovan\u00ed \u00fato\u010dia<\/strong>. V\u00fdsledkom bol nad\u0161en\u00fd tak ve\u013emi, \u017ee zavolal niektor\u00fdch z najsl\u00e1vnej\u0161\u00edch re\u017eis\u00e9rov. Na spolo\u010dnej fotografii p\u00f3zovali <strong>Steven Spielberg, Martin Scorsese, Oliver Stone, Francis Ford Coppola \u010di Michael Mann<\/strong>. Posledn\u00ed dvaja menovan\u00ed priniesli aj svoje digit\u00e1lne v\u00fdtvory: Coppola premietol uk\u00e1\u017eky z Megalopolisu, projektu, ktor\u00fd st\u00e1le nedokon\u010dil, Mann sa pochv\u00e1lil sekvenciami zo \u017eivotopisnej sn\u00edmky Ali. \u201eJe to estetika prameniaca z technol\u00f3gie. Nie je to snaha imitova\u0165 technol\u00f3giou star\u0161iu formu. Ke\u010f som mal negat\u00edvne ohlasy, bolo to od \u013eud\u00ed, ktor\u00ed chceli, aby video vyzeralo ako film. Pointa je vo vyn\u00e1jden\u00ed novej formy,\u201d povedal Mann.<\/p>\n<p style=\"text-align: center\">Prv\u00fd digit\u00e1lne nato\u010den\u00fd blockbuster. Zdroj: screenshot, YouTube<\/p>\n<h3>\u201eTen, kto zni\u010dil kinematografiu\u201d<\/h3>\n<p><strong>Nie v\u0161etci<\/strong> v\u0161ak <strong>zdie\u013eali<\/strong> toto <strong>nad\u0161enie<\/strong> a v miestnosti <strong>nastal rozruch.<\/strong> \u201eRob\u00edme filmy, to je m\u00e9dium, ktor\u00e9 pou\u017e\u00edvame. Bud\u00fa si \u0165a <strong>pam\u00e4ta\u0165 ako toho, kto zni\u010dil kinematografiu<\/strong>,\u201d reagoval \u00fadajne Stone na Lucasa. Na pou\u017e\u00edvan\u00ed 35-milimetrov\u00e9ho filmu trvaj\u00fa aj ich mlad\u0161\u00ed kolegovia Christopher Nolan \u010di Quentin Tarantino, ale <strong>pokrok nezastav\u00ed\u0161.<\/strong> \u201eM\u00f4j kamar\u00e1t Chris Nolan je ve\u013ek\u00fd z\u00e1stanca zachovania tridsa\u0165p\u00e4\u0165ky, zachovania fotoch\u00e9mie. \u00daplne ch\u00e1pem jeho postoj, je to jeho poh\u013ead na vec. Ja som za to, aby bolo v ka\u017edom kine mo\u017en\u00e9 premieta\u0165 zo v\u0161etk\u00fdch pr\u00edstrojov, aby bolo mo\u017en\u00e9 premieta\u0165 digit\u00e1lne aj fotochemicky. Nie s\u00fa to ideologick\u00e9 nezhody, vz\u00e1jomne re\u0161pektujeme pr\u00e1cu toho druh\u00e9ho. Re\u017eis\u00e9ri s\u00fa v tomto smere ve\u013emi rovnost\u00e1rsky,\u201d dodal Mann.<\/p>\n<p>Kruh sa uzavrel na Oscaroch v roku 2009, ke\u010f here\u010dka <strong>Natalie Portmanov\u00e1<\/strong>, predstavite\u013eka <strong>Padm\u00e9 Amidaly<\/strong> z <strong>digit\u00e1lnych<\/strong> Hviezdnych vojen, odovzdala so\u0161ku za najlep\u0161iu kameru sn\u00edmke <strong>Milion\u00e1r z chatr\u010de<\/strong>. Ben Stiller na p\u00f3diu <strong>\u017eartoval, \u017ee v\u00ed\u0165azn\u00fd film<\/strong> Dannyho Boyla <strong>nato\u010dili cel\u00fd na mobil.<\/strong> Nevedel, \u017ee \u010doskoro nebude \u010faleko od pravdy.<\/p>\n<h3>Aj s malou kamerou sa daj\u00fa robi\u0165 divy<\/h3>\n<p><strong>Digit\u00e1lnej videokamery sa ne\u0161t\u00edtil<\/strong> ani <strong>David Lynch.<\/strong> V roku 2002 bol prezidentom poroty na festivale v Cannes a v tom istom \u010dase za\u010dal na svojej webstr\u00e1nke davidlynch.com zverej\u0148ova\u0165 kr\u00e1tke experimenty: \u201eMal som Sony PD-150. Zboz\u0148oval som ten pr\u00edstroj, dalo sa s n\u00edm robi\u0165 \u010doko\u013evek. P\u00e1\u010dilo sa mi, ako jednoducho sa s t\u00fdm pracovalo, ako r\u00fdchlo to i\u0161lo.\u201d D\u00f4kazom, \u017ee aj s malou kamerou sa daj\u00fa robi\u0165 divy, je <strong>kr\u00e1tky internetov\u00fd film Rabbits<\/strong>. V Lynchovej <strong>surre\u00e1lnej predstave o sitkome<\/strong> vedie rodinka kr\u00e1likov na prv\u00e9 po\u010dutie nes\u00favisiace dial\u00f3gy, sties\u0148uj\u00facu atmosf\u00e9ru mal\u00e9ho bytu, chladn\u00fdch farieb a ob\u010dasn\u00e9ho tr\u00fabenia vlakov prer\u00fdva umel\u00fd smiech nejestvuj\u00faceho obecenstva.<\/p>\n<p style=\"text-align: center\">David Lynch. Zdroj: screenshot, YouTube<\/p>\n<p>\u201eSpravil som mnoho kr\u00e1tkych filmov, jedno viedlo k druh\u00e9mu a na digit\u00e1l som nato\u010dil aj celove\u010dern\u00fd Inland Empire. V porovnan\u00ed s celuloidom to malo pr\u00ed\u0161ern\u00fa kvalitu, no \u0161etrilo to \u010das. Bolo to zauj\u00edmav\u00e9, <strong>s malou kamerou<\/strong> bolo mo\u017en\u00e9 <strong>vytvori\u0165 cel\u00fd svet<\/strong>, \u010do ma fascinovalo. Je to ako ceruzka a kus papiera, ka\u017ed\u00fd m\u00e1 k tomu pr\u00edstup. Ka\u017ed\u00fd m\u00f4\u017ee nat\u00e1\u010da\u0165 a hra\u0165 sa s t\u00fdm, svet pohybliv\u00fdch obr\u00e1zkov sa stal dostupn\u00fdm pre v\u0161etk\u00fdch. Digit\u00e1lny svet je obrovsk\u00fd, v nie\u010dom sa v\u0161ak digit\u00e1lna kamera nevyrovn\u00e1 celuloidu. Ak by niekto nejako dok\u00e1zal prenies\u0165 kr\u00e1su celuloidu do kamery, bolo by to \u00fa\u017easn\u00e9,\u201d n\u00e1deja sa Lynch. Ceruzka a papier alebo Word, tridsa\u0165p\u00e4\u0165ka alebo Sony PD-150, <strong>digit\u00e1lna revol\u00facia bude pokra\u010dova\u0165.<\/strong> Podstatn\u00e9 je, kto to dr\u017e\u00ed v ruke.<\/p>\n<p><iframe title=\"Rabbits (2002) A Short Film by David Lynch\" width=\"640\" height=\"480\" src=\"https:\/\/www.youtube.com\/embed\/drjQfQtv2BQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<h3>Kr\u00e1tka hist\u00f3ria digit\u00e1lnej revol\u00facie:<\/h3>\n<p><strong>1995:<\/strong> Firmy Sony a Panasonic uviedli na trh prv\u00e9 spotrebite\u013esk\u00e9 digit\u00e1lne videokamery<\/p>\n<p><strong>1998:<\/strong> Na festivale v Cannes mali premi\u00e9ru prv\u00e9 digit\u00e1lne nato\u010den\u00e9 filmy: Rodinn\u00e1 oslava (r. Thomas Vinterberg) a Idioti (Lars von Trier)<\/p>\n<p><strong>1999:<\/strong> Z\u00e1hada Blair Witch (r. Daniel Myrick, Eduardo S\u00e1nchez), n\u00edzkorozpo\u010dtov\u00fd nez\u00e1visl\u00fd film s digit\u00e1lnymi z\u00e1bermi, zarobil na vstupnom takmer 250 mili\u00f3nov dol\u00e1rov<\/p>\n<p><strong>1999:<\/strong> V Hollywoode prv\u00fdkr\u00e1t zakomponovali do ve\u013ekorozpo\u010dtovej sn\u00edmky aj digit\u00e1lne z\u00e1bery: Hviezdne vojny: Epiz\u00f3da I &#8211; Skryt\u00e1 hrozba (r. George Lucas)<\/p>\n<p><strong>2000:<\/strong> Prv\u00fd digit\u00e1lny v\u00ed\u0165az Zlatej palmy na festivale v Cannes: Tane\u010dnica v tme (r. Lars von Trier)<\/p>\n<p><strong>2002:<\/strong> Prv\u00fd digit\u00e1lne nato\u010den\u00fd blockbuster: Hviezdne vojny: Epiz\u00f3da II &#8211; Klonovan\u00ed \u00fato\u010dia (r. George Lucas)<\/p>\n<p><strong>2002:<\/strong> Prv\u00fd film, ktor\u00fd neskomprimovan\u00fd nahrali na pevn\u00fd disk a nie na p\u00e1sku: Rusk\u00e1 archa (r. Alexandr Sokurov)<\/p>\n<p><strong>2009:<\/strong> Prv\u00fd \u010diasto\u010dne digit\u00e1lny v\u00ed\u0165az Oscara za najlep\u0161\u00ed film a najlep\u0161iu kameru: Milion\u00e1r z chatr\u010de (r. Danny Boyle)<\/p>\n<p><strong>2010:<\/strong> Prv\u00fd kompletne digit\u00e1lny v\u00ed\u0165az Oscara za najlep\u0161iu kameru: Avatar (r. James Cameron)<\/p>\n<p><strong>2013:<\/strong> Digit\u00e1l nahradil celuloid ako \u0161tandard filmov\u00e9ho priemyslu<\/p>\n<p><strong>2013:<\/strong> Prv\u00fd ve\u013ek\u00fd hollywoodsky film, ktor\u00fd bol ur\u010den\u00fd v\u00fdhradne pre digit\u00e1lne projektory: Vlk z Wall Street (r. Martin Scorsese)<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p><em><strong>Zdroje: bfi.org.uk, csfd.sk, youtube.com<\/strong><\/em><\/p>\n<p><em><strong>Zdroj titulnej fotografie: screenshot, YouTube<\/strong><\/em><\/p>","protected":false},"excerpt":{"rendered":"<p>Filmov\u00fdm puristom sa to nebude p\u00e1\u010di\u0165, no rozmach digit\u00e1lnej technol\u00f3gie umo\u017enil tvori\u0165 \u0161ir\u0161ej mase \u013eud\u00ed. Nat\u00e1\u010danie prestalo by\u0165 v\u00fdsadou elity s finan\u010dn\u00fdm zabezpe\u010dn\u00edm a po\u010detn\u00fdm<\/p>","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[51],"tags":[],"class_list":["post-8065","post","type-post","status-publish","format-standard","hentry","category-archiv","two-columns"],"_links":{"self":[{"href":"https:\/\/instrid.sk\/en\/wp-json\/wp\/v2\/posts\/8065","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/instrid.sk\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/instrid.sk\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/instrid.sk\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/instrid.sk\/en\/wp-json\/wp\/v2\/comments?post=8065"}],"version-history":[{"count":0,"href":"https:\/\/instrid.sk\/en\/wp-json\/wp\/v2\/posts\/8065\/revisions"}],"wp:attachment":[{"href":"https:\/\/instrid.sk\/en\/wp-json\/wp\/v2\/media?parent=8065"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/instrid.sk\/en\/wp-json\/wp\/v2\/categories?post=8065"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/instrid.sk\/en\/wp-json\/wp\/v2\/tags?post=8065"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}