In defence of physical media
Streaming is access; a disc is ownership. A manifesto for the right to keep the films we love — on VHS, DVD, Blu-ray or vinyl.
With no computer graphics, 2001 built outer space with a rotating centrifuge, front projection and a watchmaker’s patience. Behind the scenes of a standard that still stands.
How do you film zero gravity a decade before the computer? Kubrick answered with engineering: a gigantic centrifuge that rotated as a whole while the actor walked in place, cameras bolted to the structure, the world turning around the scene.
For the dawn of man there was no location: front projection of African photographs onto a reflective screen, a technique pushed to its limit to place studio australopithecines under a real sky. The illusion is still perfect in 4K — and it is entirely optical.
The final voyage came from the slit-scan technique perfected by Douglas Trumbull: a slot of light photographed in very long exposures, frame by frame, night after night. The most imitated psychedelia in cinema is, at source, photographic craft.
Kubrick’s only competitive Oscar came precisely for the visual effects of 2001. Half a century later the benchmark is still there: no pixel ages as well as a well-built trick performed in front of the camera.
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Streaming is access; a disc is ownership. A manifesto for the right to keep the films we love — on VHS, DVD, Blu-ray or vinyl.
Scanning the original negative at high resolution is not videophile luxury: it is the chance to see films of 50 or 80 years ago as…