Film historian Kristin Thompson, in reporting on the screening of Nina Paley’s Sita Sings the Blues at this year’s Eberfest (Roger Ebert’s Film Festival hosted by the University of Illinois at Urbana-Champaign’s College of Media), includes a transcript of a discussion with Paley and animation scholar (and old buddy) Richard Leskosky (seen above). In it she makes an interesting aside about the way the film was projected (digitally, which is how it was created):
By the way, I want to mention that what you saw was not 35mm. You saw HD-cam, and there are actually 35mm prints of this, and seeing it here was very strange. It was unusually solid, rock solid, a little bit troublingly solid, although that is the ideal that film technology has been striving for. But 35mm prints have all these scratches and splices, and grain and a kind of warmth that moves around, which is almost like a kind of very desirable filter that really warms up the film. So watching it in 35mm is different. I was noticing how computery it looked on the HD projection at this particular size, because I was looking for imperfections that simply weren’t there.
Anyway, do take a look.
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