A Lone Development of Low Movie Quality In Commercial Philippine Cinema Industry

We often excited to watch high quality film movie in many US movie titles due to the use of advanced  film movie and audio system technologies in order to produce clear image and clear sound. In this modern times the US movie industry as well as other foreign movie companies in rich countries has often maintain and preserve high quality film movie based on required high standard in growing demand for movie theaters around US and around the world. They earned millions of dollars coming from the audience who has satisfied such for their viewing pleasure.

But in most developing countries like the Philippines, many commercial local movie industry like Sampaguita Pictures (in monochrome), Regal Films, Viva Films, Octoarts Films, and many others (all in color in second to fourth), has relied only a cheap, low quality film movie equipment technology. If we often to watch many local Filipino film movie titles in the ’50s, ’60s, ’70s, ’80s, ’90s, and 2000s to the present, its film movie quality often generates lack of sharpness, dull chrominance, a few white or black spots and scratchline marks, low sound fidelity resulting to distortion, and some frame distortion. That was only due to a “dirty” film process and even “shabby” editing before distributing over local theaters around the Philippines.

But what is the main difference between traditional low film movie quality in Philippine cinema and high quality film movie in the US and foreign films in rich countries? Here are the following facts on this blog:

  • One of the first consideration is the use of film movie camera, film movie strip reel, and film movie audio amplifier. Ordinary film movie camera as well as its partly inferior film movie strip used in Philippine movie may tend to generate blots or scratch marks and distortion in picture due to mechanical and optical idling as well as sharpness and contrast quality problem, unlike high quality movie film, camera, and lens in most US and various foreign film in rich countries  that are branded such as Panavision and Technicolor. Ordinary film movie audio amplifier equipment such as ordinary sound field modulator and ordinary home-made microphone in mono track only, on the other hand, often generates like a “dubbing” sound caught from the voice of an actor and actress in time on shooting and even distortion due to low sound fidelity (about 10,000 Hz), unlike using stereophonic boom microphone and hi-fi sound field amplifier (using analog Dolby sound movie system up to 15,000 Hz; now Dolby Digital, DTS, or SDDS by digital pits in film with over 20,000 Hz) in popular US film.
  • Another consideration is about the transfer from movie scene to video format for making home video. One of the conventional method is the use of analog video grabbing unit that consists of camera tubes capturing over a movie projector. The main disadvantage of that method is that it lacks crystal-clear contrast detail. US film counterparts often uses digital processing equipment unit that consists of image sensor such as CCD or CMOS sensor that captures a single image and a console that converts from a bitmap image to analog composite video (now MPEG frame capture in making DVD or Blu-ray home video).
  • The last consideration is to remaster or restore nearly deterriorated picture in film on most classic Philippine film titles digitally. This method—as demonstrated on the experiment of remastering the movie scene of atomic bomb experiment coverage in an episode of an informative science/entertainment program How Can They Do That? on CBS Television in 1995(?)—enables to remove spots and scratches, stains, dusts, and distortion by means of a computer or console having with a specialized movie image remastering software similar to a various image editing software such as Adobe Photoshop and Corel Photo Paint. However, local Philippine movie companies have not yet aware or informed about that new technological breakthrough as they have only focus to preserve rather than restore manually that can easily damage the original picture quality.

The local Philippine movie industry was unaware about the advancement of high quality traditional film movie technology made by US film and other foreign films in rich countries that was flourished in the ’70s to the present due to the lack of funds and lack of developmental and informative empowerment to upgrade their equipment. Without taking action to improve their equipment aside from lighting equipment, the Filipino audience may be felt disappointed and may not be able to miss out future new local movie titles that may be only offer cheap storytelling script such as light sitcoms, older action scenes, bleak drama acting scenes, and even controversial erotic scenes that became fad in the past.

Despite of this, some independent film makers in the Philippines different from commercial ones like Unitel that produced American Adobo, Inang Yaya, Nasaan Si Happiness?, and La Visa Loca has successfully complied to use newer traditional film movie equipment technologies in mid-decade of 2000s just as the commercial US film. Panorama Pictures that produced Ploning has also complied on that latter. Small player film makers that produced Ang Pagdadalaga Ni Maximo Oliveros, Jay, Serbis, Dead Na Si Lolo, and many others—known as independent DV film (DV stands for “Digital Video), or colloqially known as indie film—that can be seen only on independent film festivals often use a newer built-in 24-frame digital video camcorder unit  that was part of the evolvement of digital cinematography, or digital movie, in which its cost is cheaper than traditional film.


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