VISUAL AUTEURS is a series of interviews with some of today’s most exciting artists and filmmakers. Whether they are upcoming talents or established professionals, whether they do fashion films, music videos or art films, what we’re looking for are just great people, who do what they do with great passion and in a distinguished style.

Jason Last was one of the first filmmakers who dedicated his directorial craft solely to the genre of fashion and in doing so helped initiate the genre we now call “Fashion Film”. We had a little chat with him about his work and, yeah, you guessed it, all things fashion film.

Jason, you were one of the pioneers of fashion film, please tell us about how you got involved in it.

I’ve always had a very strong connection to sound and moving image and the emotion it can carry, or the story it can tell. Fashion film is something that has come out of my passion for video and filmmaking, as well as my love of fashion imagery. It is a combination of both things and is derived from my mind and sensibility as an artist, a director and an image-maker. Fashion film combines the mediums with which I want to work and create: art, fashion and cinema. It was a natural progression.

My friend and brilliant collaborator creative director Jaime Rubiano and I would dream up ideas when we were in school and shoot them. We did our first film Elegia, not really knowing how or why, but combining these worlds we were inspired and driven by creatively. We taught each other a lot in this process and fashion film allowed us to fuse all worlds into one. So it worked.
We’ve done a lot of films together since then.
“ALEPH”, the brand-new collaboration between Jason Last & Jaime Rubiano

What are, in your opinion, some aspects that had a big impact on fashion film in last couple of years?

I think what has changed the most is the idea and acceptance that this is a genre of filmmaking and something that the fashion industry recognizes as marketable and useful. We’ve also seen an influx of films being made as the Canon 5Ds, etc make it accessible for anyone to make moving images while they take photos. But we know that the technology is not what makes a film good.

You’re also a photographer, now, if you’d have to choose one over the other, what would be your choice and why?

I’ve never been a photographer professionally. I always have done video. I studied video in a fine arts context and have been using and making videos since I was a teenager. Recording everything, cutting images together, making films. I have always had an affinity and connection to moving image and sound, and the power the two have together. I’m all about moving image.

What is your involvement with Diane Pernet and the “A Shaded View On Fashion Film”-Festival?

I have worked with Diane for a few years on various projects like the Hyères Festival, etc. I’m involved in various ways; mainly assembling and organizing the films for screening and presentation, as well as some programming selection. All of us involved work hard at various capacities to push it forward & make it a strong & successful festival.
ASVOFF is something I really believe in and working with Diane is really special; as she is a pioneer in defining and developing fashion film as a genre. She gave it a place to live and be discussed, and I’m grateful for that.

Your films have a very pure and intimate feel. They revolve around bodies and faces, you work a lot with close-ups… you almost seem more interested in the human beings, resp. models than in the fashion they’re wearing… Are you?

As a filmmaker & artist, I am very much interested in not only capturing beauty and detail, but also working on an intuitive level that comes from both what I am feeling and also where I want to take the viewer. I do really love working with models, and what they can offer to my work, both visually and personality-wise. But I feel the same way about the collections, designers and clothes I am shooting. The models and the fashion are basically the canvases and tools with which I create. So if either are giving me a lot, or are exciting and beautiful to work with, that’s where my focus goes. For the films I make, I think one needs the other. But definitely models give it so much energy and bring the clothes to life.

“WHEN YOU’RE A STAR” by Jason Last & Jamie Rubiano

What are some of your main influences regarding your work as a filmmaker?

There are of course too many. There is so much work and talent that has changed the way I think and create; that has completely moved me to work. And in all genres of creativity like art, film, fashion, music, performance.

My first influence is art. Somewhere along the line, galleries led me to learning about video art and performance artists of the 60s & 70s, etc, and a world was opened up for me. There’s a lot of passion there for me for what I do. The most exciting and influential people for me are the ones that cross genres – where art meets fashion meets cinema, and so on..

Fashion Film can be so many things and it’s continually being re-defined. It’s these innovators that continue to use fashion elements in a moving cinematic form that will continue to move it forward, tho I’m not sure it needs to be defined as one thing.

What changes or development do you see for your own work as a fashion film director and for the genre per se in the near future?

Ideally I just see more work being made and developing new relationships and access to amazing people and subject matter! For me, it’s all about creating, but again, it’s also about the tools with which I am able to work with. The models, the designers. They are what inspire me.
“AUGURIES OF INNOCENCE” by Jason Last

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VISUAL AUTEURS is a series of interviews with some of today’s most exciting artists and filmmakers. Whether they are upcoming talents or established professionals, whether they do fashion films, music videos or art films, what we’re looking for are just great people, who do what they do with great passion and in a distinguished style.

Today we talk with filmmaker Emil Klang from Stockholm. His series “The Weeks of Dasha” deeply impresses me regarding commitment, inventiveness and it’s endless possibilities of interaction. Here, you can hear from a passionate filmmaker, and it’s a rare treat to hear someone speaking out on so many topics in such a honest and in-depth way. So, grab a cold beer and enjoy the trip into Emil’s world…

Emil, can you tell us a little bit about your background as a film professional?

In my teenage I had big interests in films. But as an opposite to the other films nerds in school that were up all night watching sci-fi and zombie-films, me and my friends studied Antonioni, Godard and of course Bergman. We got the films from the public library and there was also a small film club taking place every second sunday at the art house cinema. When I was 18 I moved to Stockholm and started to work as a television cameraman. At 2007 I released my first fashion film called “5 positions”. Today I mainly work with fashion and commercials, and other creative projects on the side of course.

What are the main influences for your work as a filmmaker?

Sadness and beauty.

What do you think about the fashion film phenomenon? Is it here to stay? What new developments do you anticipate for this genre?

Of course fashion film is here to stay. There has been soo much interesting things happening the latest years. Today, almost every designer are trying to promote themselves through film. The technics are rapidly getting cheaper, better and easier to use, well established fashion photographer are doing their first tentative steps with a film camera, lots of amateurs and low-budget semipros are together with new talented designers challenging the established professionals. I really love to see this democratic development in fashion film, and to see the internet forums filled with advices and tutorials. But it’s very important to remember that even if anybody can film, it doesn’t mean that we see more interesting films being produced. The majority of the posted
[fashion] films on Vimeo are crap, of course, but I think it’s important to have as much people as possible vitalizing the artistic genre that is fashion film.

One thing that is for sure, is that the overestimated depth-of-field-hysteria that we can see today will totally get out of fashion. Until a year ago the short depth-of-field felt like luxury. Just the really expensive cameras with good lenses could give us the blurry backgrounds. Then the DSLR arrived and BANG! Everyone went crazy about the short depth-of-field and today we see a manic misuse in almost every film on Vimeo and YouTube. I mean, this will have a great backlash, when you associate something with luxury it seems exclusive and inaccessible, but when it’s in everyone’s reach, it will definitely become out of fashion.
The next thing I think what we will associate with inaccessibility and exclusivity will be silence and long takes. You’ll have to be certain that your work is amazing, that people will keep watching it anyway. Of course anyone can access the silence and be able to do long takes, but just the most daring ones will do it. But it will take some years before we see this trend for real.

What is it about fashion that does inspire you?

My interest in fashion is not necessarily about the clothing itself, more about what they express, visually. If I get a strong inspirational feeling about a piece of cloth it’s never because I want to wear it myself, or see my girlfriend in it or so. Even if I don’t really see fashion as art, I definitely see it more as an artistic expression then a common commercial product. The fashion I pay interest to as a fashion film cinematographer is mainly non-wearable, not-for-sale, one-made pieces, and that’s very far from commercial fashion, even though it’s main purpose is the same: define, strengthen and explore your personality through the clothes you wear.
For me fashion photography is also much about escaping reality. Film is greater than photography in that sense that is involves sound and that you can see the movement of a piece of cloth and for me that’s a revolution in fashion photography.
“The Weeks of Dasha” is fashion film in one sense, but it’s also so much more, and by then it’s also less fashion. It’s a decision from me to not make Dasha into a filmed lookbook or a moving commercial for a brand, it’s more of a film series with great fashion influences.

Tell us about “The Weeks of Dasha”…

I was curious about the idea of a series. Both the narrative structure and how the production would turn out for me. I wanted to have a flow in the project, a creativity flow that continued week after week. I can find film business quite boring, it so much about economics, sponsors, meetings and planning. For me those things has nothing to do with why I started to get interested in film. I had previously made other fashion films, but this time a wanted to explore different forms of films, and still be able to have all those films in the same context. Briefly, “The Weeks of Dasha” is a big experiment of narratives, in how many ways can you tell a story and express a feeling in film.

Weren’t you afraid to commit yourself for such a long time exclusively to one project?

Well, I needed something challenging by that time (summer of 2009) and to be honest, nothing really frightens me in that sense. The capacity of a human being is so much more than we think. I wasn’t afraid of putting tons of energy in one project, since it was just a one year commitment, but to be honest the project have turned out a bit more ambitious than I first expected, and I truly need a vacation.

I have always had a very high morality when it comes to finishing projects, when I start something I will also end it. For me it’s a question of loyalty, for me and everyone I work with. A lot of people have been putting their time in this project and I would never let them down with not letting Dasha run til the end.

The Weeks of Dasha: “Week 32 – Young Passion”

How do you manage to stay on time with the weekly releases?

Simply with a good amount of discipline. The films are always exported from the computers late Thursday nights, so there is no lead to talk about, at all. I have got a pretty good view of what time things will take in the post-production, but I’m a bit surprised as well that I haven’t been late with an update not even once. For me that is a beautiful thing, almost as a religious ritual. Every Friday between 9 and 11 I’m working with the new episode, updating the site and the Iphone-App, sending out newsletters etc. I think I will remember those Friday mornings when all this is over…

It’s a non-commercial project, so how is it financed?

Everyone works with the project on nonprofit basis and all the expenditures I do finance by my self. The only thing that cost is the shootings: rental gear, cars, food, and then of course there is always things you have to pay when we throw parties and so on. I have been trying to work as much as possible on the side, but by this time I’m really pushing the limit of my bank account. Every episode has a general budget of 400 Euro, which is very..low…but 400 times 52 films…then you have a good overlook of my financial crisis. “The Weeks of Dasha” is actually an unique film project in that sense, that it’s totally non-commercial and without sponsors or support from film founds etc. For me it has been a relief to work with something with total final cut.

“Weeks of Dasha” is not only a series of films but can also be regarded as a multi- media/social media project (with a multi-lingual homepage, an iTunes-app, channels on facebook, twitter, vimeo, youtube etc).
What are your experiences with your audience, do they interact with you? Does it have any (feedback) effect on your work as a filmmaker?

It’s fun to have Dasha living her life in other contexts than on the projects webpage. In the beginning I had two professionals working with the PR department, but after a couple of month I lost them when they moved on to new jobs and couldn’t find time for Dasha, even how much they wanted to. I had to decide what was the most important, the quality of the films or the numbers that would see them. This was another moment of gratitude to the non-commercial basis of the project, in a business situation you would have to put the focus on the popularity, let more people find it, increase the numbers of viewers. For me this was not to important. Of course I wanted people to see it, but I was more concern about the quality. Today I can see that “The Weeks of Dasha” could have been more well-known outside Sweden than it is today, but then it would have affected the quality, and I’m more concern about running a project I’m proud about than having 100.000 viewers a day.
To have an interactive relation with the audience is important for me, every day. People comment on the web page, on Dasha’s facebook profile and they follow her Twitter. For me this is what makes it all worth the effort. Sometimes it gets a bit silly though. It has never been a purpose to let people think Dasha is for real, but some people do. By running Dasha’s facebook profile I getting close to the feeling of being a girl.

The Weeks of Dasha: “Week 40 – Sorrowful seduction”

Since the series is also a collaborative project, how much do you do by yourself, and when are the others coming in? How do they influence the outcome of the films?

I’m the heart of the project and unfortunately doing most of the things by my self. But there is also lots of people continuously working with it as well, the web designer, the copywriters, the translators and so on. During the shootings we are a collective of 5-6 people, stylist Gorjan Lauseger, hair stylist Ida Högström and make up-artist Pari Damani, that have been with the project since beginning. When it comes to the filming we try to shoot two or three films each time, so the days are pretty filled, there is not much time for improvisations. Anyhow we are always changing the original plan in different ways and for this I get a lot of help from stylist Gorjan Lauseger, he’s got lots of ideas and is very open-minded. The shootings are the most important times, but it’s just one part of the project, I spend much more time at the office then on set. So to sum it up, it is much of an one mans show, I do plan, film, direct, edit, write texts, update, visit designers, buy props etc by my self, but there is also LOTS of other people working with it every day, composers making music, animators doing effects, stylist pickings clothes, translators writing texts etc.
There has been over 100 people working with the project during the year, and I am very thankful to them all. But the best thing is that people is not doing it for my sake, but for it’s such an interesting project to work with. I listen very much to the professionals that surround me, and usually I do follow their advices, when it comes to design, styling, etc. When it comes to the ideas of the films, the story of Dasha and so on, I’m not so open for changes, I’m quite certain of how I want it all to be in the finished stage.

What happens after Dasha? Do you already have new projects in mind?

Definitely not. I’ve got lot’s a great proposals but the only thing I need right know is to spend time with my friends and family. But by the end of January I will probably get bored again and start with something new.

What have you been reading/watching/listening this week?

Music: Swedish unsigned band: Dear Euphoria. She has done music to the project, and I just love her work.

Film: I watched the old childrens’ film “The red balloon”, about a french boy in the sixties getting a red balloon with a living soul. Ingenious!
Read: Unfortunately I just have the time for the daily newspaper and fashion magazines. When it comes to authors I love Haruki Murakami.

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VISUAL AUTEURS is a series of interviews with some of today’s most exciting artists and filmmakers. Whether they are upcoming talents or established professionals, whether they do fashion films, music videos or art films, what we’re looking for are just great people, who do what they do with great passion and in a distinguished style.

SWELL, NY first came to my attention with the beautiful post production on fashion films by the likes of Guy Aroch, Annelise Phillips and Sharif Hamza. In the following interview Tarik Malak (CEO) and Tim Douglas (VP motion department) deliver some very interesting insight into SWELL’s other areas of action and talk about the future of fashion films.

Tarik, can you tell us a little bit about your personal background and how you came to found SWELL ?

Tarik Malak : I grew up in Paris… worked for a few years in Parisian advertising agencies dealing with mainly fashion brands in both strategic and creative positions. Then I co-founded La Boutique, which is a highly successful photo retouching lab (I recently sold my equity to my former co-owner). While with La Boutique, I worked with premium brands such as D&G, Redken, DVF, Swarovski and artists such as Craig McDean and Ryan McGinley. The last few years I’ve been doing quite a lot of research on new technologies and invested in a few tech startups… SWELL came about as a result of all that work and combines my extensive experience in fashion, communications and technology.
Fortunately I’ve been able to put together a killer team… we’ve got incredibly talented people like Tim Douglas (VP motion department) and Johnny Misheff (Communications manager).

How do your services differentiate from those of an average post production company?

TM : To be clear: we’re a strategic and creative agency. Video post-production is just one of the MANY opportunities for us to be creative and produce relevant content for publishers and brands. Our approach is fundamentally different from the average post production company because we’re participating in so many other areas.

“Elle McPherson for Love Magazine” by Sharif Hamza

What are some of your thoughts on the fashion film phenomenon? How will the fashion film evolve in the foreseeable future?

Timothy Douglas: I’m fairly certain the evolution of the fashion film is going to involve interactivity, or concerned with the dynamics of whatever emerging technologies are around the corner – that’s inevitable. I think the most significant leap these projects will take on will be in becoming more established as a format between brands, viewers and artists. Fashion films or ‘branded shorts’ are set to become a reputed genre of their own, recognized for their individual creative merits over other visual media.

What is your take on the “photographer-turns-film-director” movement?

TD : It’s an interesting phenomenon, especially as most of the fashion photographers I work with are far more prolific filmmakers than the majority of filmmakers I am working with. I think a large part of their success is that the media associated with fashion in the past has been so dire. When I think of what comprised fashion media in the past, especially for moving image, I think of the same old catwalk shows, boring interviews with models (the majority of whom are reluctant to speak on camera) and endless spiels from self-satisfied designers and their cronies. This was always contrasted by what was provided by print – incredibly high-end photography with an almost abstract creative sensibility. My feeling is that these photographer-turned-directors are meeting the requirements of the new digital market with this same sensibility, filling a massive creative void to which brands and viewers alike seem to be responding favorably. There is a definite propensity toward the technical and aesthetic qualities of filmmaking over absolute narrative, which drives a lot of filmmakers insane… but I find it quite encouraging to see and to work within a genre that isn’t afraid to push the boundaries a little. It’s refreshing and exhilarating, creatively speaking.

TM : One of the most interesting challenges for me was to accompany the photographers I’ve been working with for years on the shift to moving images. While establishing SWELL, I took special care while “curating” a group of photographers that for me were the most aware and up-to-speed with what’s going on in the industry.

“Rogue” by Guy Aroch

Post production is a massive game-changer for the effect a (fashion) film has on it’s audience. Having said that, most budgets for fashion films are rather small – yet. Do you feel, budgets have improved in the past 1-2 years?

TD: The budgets are steadily improving and I think there’s going to be a dramatic increase as the medium becomes more established. Because of the open premise that most fashion films have, I can foresee future productions being backed by multiple brands.

TM : Absolutely. Money is shifting in a big way to online communications, considering the way the world is consuming media right now.

Regarding post production, what are your thoughts on the technical aspects of modern filmmaking ?

TD: Technically, there are literally no bounds to the footage I receive. The 5/7D were a big deal for a while and they are very much the fall-back format for most directors, but I’ve found myself receiving more and more R3D and CINE footage recently. I personally miss the days of having standard formats as staying on top of all the new codecs and conforming options is a bit of a drag, because while the results can be encouraging, it requires loads of added testing and you’re always aware of a billion other possibilities.

Upcoming projects you want to share…?

TM : We can’t disclose anything unfortunately… but definitely trust us when we tell you our ideas are limitless and the projects are big and getting bigger! Keep your eyes out for dramatic changes to the way “a huge American fashion retailer” handles their Point of Sale…

What have you been reading/watching/listening this week?

TM : I’ve been watching the new HBO show Broadwalk Empire… I also get a huge daily dose of tech and fashion blogs…

“Dazed and Confused Presents…”, Mystery Project by Sharif Hamza

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This is the first in a series of interviews with some of today’s most exciting artists and filmmakers. Whether they are upcoming talents or established professionals, whether they do fashion films, music videos or art films, in a digital or analogue way, whatever etc. What we’re looking for are just great PASSION & STYLE.

We kick off VISUAL AUTEURS with Jacqueline Castel, a multi-gifted artist from Brooklyn, NY. Her amazing music-videos for subculture heroes like Zola Jesus, Blank Dogs and U.S. Girls revitalized the underground-chic-aesthetics New York is famous for. Right now, she’s working on her full-feature debut. But let’s hear from her…

Jacqueline, you work as a designer, photographer, stylist, filmmaker… Does a modern visual auteur have to master a lot of different crafts?

I wouldn’t say that it’s essential for modern filmmakers or artists to master multiple skill sets – everyone has their own process – but I do see it as an advantage. I view all work that an artist creates, regardless of the format or craft, as an extension of themselves and their creative output, and I’ve always been drawn to artists who cross mediums and skill sets to create their own world and visions. Traversing between crafts and experimenting has always felt intuitive to me, perhaps out of a natural sense of curiosity to create and learn. It also makes the creation of projects easier in many respects, especially on low budgets, and it fits into my own sense of DIY ethos. I think it also makes you a stronger director when you know and understand how things are created; it gives you a better understanding of what is possible.

How do you decide whether to do a particular artistic assignment by yourself or to team up with a fellow artist resp specialist?

Every project is different. I think I default to working alone, but there are some projects, such as the music video for U.S. Girls (directed with Preston Spurlock), and the short Twelve Dark Noons, where I collaborated with other artists in different capacities. I think the desire to collaborate always stems from the recognition of someone who shares a similar attitude or aesthetic who can challenge you to do better work, and can bring their own voice and skill sets to a project that will strengthen it. It’s an interesting balance, and I’d say I’m generally very particular about who I work with, but I’ve had very positive collaborations in both cases.

Are there recurrent themes, visual and plot-wise, which pop up when you work in different visual fields?

Paranoia. And more recently, natural and otherworldly phenomena.

What are the main influences for your work?

I’m visually and conceptually influenced by a variety of things – traveling, Czech cinema, cult fashion brands like Biba, underground music, mythology, Roman Polanski, the apocalypse – I can’t pinpoint a main visual reference beyond the cinema itself, but my influences are by no means limited to that. My work represents me, my obsessions and preoccupations, and the way that I view the world. While that often leans to the surreal and fantastical, it is all sourced from a strain of truth, a personal experience, a nightmare, a migraine hallucination, or a real event.



What are your thoughts on the technical aspects of modern film-making, like DLSR vs film stock, digital vs analogue, etc?

I tend to gravitate towards creating ambiguous worlds that operate on their own sense of time and have an organic quality to them. I’m not so much interested in reconstructing reality as I am in creating a sense of unreality. That being said, I like when you can’t tell how something was shot, when it was shot, or what equipment was used. I like when there’s mystery in an image. I’ve shot 35mm and VHS, PXL 2000 and Super 8mm, and have run HD footage through old analogue TVs to get a certain effect. Basically, I’ll shoot with anything you give me – it’s not a question of digital vs. analogue, it’s a question of what works for your needs, aesthetically and practically, for the project at hand. Any format can be compelling if used effectively.

Where is the main audience for your work right now and what trend do you see for the future, like in the next 3-5 years?

I think the main audience for my work is online at this point. MTV has banished the music video, so the only real outlet at this point for music video work is online. Short films have more of an audience at festivals, and likewise for features, although as bandwidth increases, it will likely turn to a larger online audience as well. Unfortunately, the amount of distributors and independent cinemas that exist has radically decreased in the last 20 years, due in part to dwindling audiences, the introduction of multiplexes, and online distribution and downloading that takes the audiences out of the theaters. Economics drive everything, so my only worry is that in the lack of economic support for industries that have in the past survived through box office and record sales, the new media future will find itself becoming more of a hybrid of commercialism – more product placement and more corporate creative control which looms dangerously close to intellectual censorship.
On a positive note though, I do think that there is a lot of potential for new short form content in events, especially when you create a community-based, social environment that cannot be replicated online, so hopefully the trend starts to veer in that direction.

Are you aware of the fashion film phenomenon? If yes, what are your thoughts on it?

I’m intrigued by fashion films, they’re an interesting cross section between art house films, fashion print ads, and music videos. They’re essentially experimental mood pieces that are more willing to take risks than traditional commercials. My main observation, from the limited amount of experience that I’ve had working on them, is that they seem to have very low budgets, which seems to be something I’m good at being attracted to! But as they gain in popularity and general use, this will probably change.

Can you tell us something about your next projects?

Before the end of the year I have a couple more music videos coming out, a special music documentation project in Italy, and the completion of the short film Twelve Dark Noons. Beyond that, there are more music videos, a couple short film/music collaborations that are kicking around, and I’m working on a feature film script that I will be taking into serious pre-production in 2011.

What have you been reading/watching/listening to this week?

Reading: “Mercury” by Anna Kavan
Watching: Paul Verhoeven’s1973 film “Turkish Delight”
Listening: Phantom Payne Days “Phantom Payne Daze” Reissue LP on De Stijl Records

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London-based designer and film director Simon Owens was named by ID Magazine one of 200 most important creatives for the future. I couldn’t agree more! Simon has done some interesting work for artists like Tiga, Whomadewho and LCD Soundsystem, but it wasn’t until his beautiful film for CARIBOU that he caught my attention.

D.O.P: Sam Brown
Wardrobe: Mimi Milburn Foster
Hair and Make-up: Cate Hall
Editor: James Rose at Cut and Run
Grade: Andrew Daniel at Molinare

I like a lot about it. The casting, the directing, the location, the styling and first and foremost the guts to shoot a song called “Sun” in the half-light of a living room. It’s original and daring and has a nice and unexpected turn midway through it.

DOP: Marcus Domleo
Editor: Julian Eguiguren
Effects: Joel Gethin Lewis, Michael Trott, Simon Owens

This one for Dave.I.D is more experimental and visually challenging. I like how the 80s-videomixer-like effects blend in with real projections and 3-d-animation so that, in the end, you can’t tell what’s what. The dizziness kind of pulls you in and doesn’t let go easily…
Of course it fits the atmosphere of the song, which is all longing and lament and very beautiful, too.
The overall look is adapted (and imho perfected) from an earlier Dave.I.D Video by director Danny Sagra.

UPDATE: This last passage needs to be revised. Simon told me that “the ‘I like the sound of them without me’ video idea wasn’t adapted from the ‘Why weren’t the message sent?’ video, it was actually conceived way before WWTMS, it just took longer to come out.” Sorry, Simon!

I’d also like to believe the look&feel of this video is part of an anti- “clean, clean & crisp” video-aesthetic (which predominates since the upcoming of DLSR-film making). I probably just make this up, but it seems to me, that a lot of people who cheered (and rightly so) when the Canon 5D was introduced in 2005 (it’s that long ago!!!), are getting kind of bored by it now (or is it just me?). I mean, how many “beautiful” panoramas and pull focus arias can you do before it gets stale altogether? But I digress…

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