Linear ?
It follows a clear process of order whereby certain processes are always an invariably done before others.
Hierarchical ?
In delivery and perception there is a hierarchical privilege of form. Theatrical cinema as the penultimate and other forms subservient and subsidiary. This most directly manifests in a compositional aesthetic whereby, despite the fact that the majority of a movie's viewers will experience the work on a TV set in the home, the work is still 'composed' for the theatre rendering the viewing on any other medium a lesser or 'incorrect' experience.
Segmented ?
Traditional cinema has clear and fixed divisions between production phases and the roles of people working in those phases. Each phase is clearly defined and largely self contained with remarkably few personnel roles carrying over from phase to phase. And, in a bigger view, virtually no allowance for corss-pollination between phases.

By contrast the Digital Age doesn't necessarily demand but it certainly prompts, coerces and entices us with opportunities to conceive and work out side of these modes. Digital tools by their own natural evolution and internal logic invariably construct a workflow and process that is integrated, non-linear and focused on the spectrum of cinema as parallel delivery options rather than the hierarchy of privilege and implied delivery value" />
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The tools have gotten ahead of the makers

  By digitalbasin
It's very easy to get carried away with the power, flexibility and adaptability of contemporary digital production tools for cinematic media. The digital tools of today punch far above their weight but strangely and remarkably there is still a discontinuity between what the tools are capable of and the production workflow paradigms that dominate much mainstream media production. The tools may have advanced into 21st century conceptualization but very often we shoe-horn those tools back into a old mentality of how cinematic form has traditionally been made rather than simply letting the digital pony have its head.



Traditional Cinema possesses certain core tenets of its making and reception that have been in place for an awfully long time. Established cinema workflow process is:
Linear
It follows a clear process of order whereby certain processes are always an invariably done before others.
Hierarchical
In delivery and perception there is a hierarchical privilege of form. Theatrical cinema as the penultimate and other forms subservient and subsidiary. This most directly manifests in a compositional aesthetic whereby, despite the fact that the majority of a movie's viewers will experience the work on a TV set in the home, the work is still 'composed' for the theatre rendering the viewing on any other medium a lesser or 'incorrect' experience.
Segmented
Traditional cinema has clear and fixed divisions between production phases and the roles of people working in those phases. Each phase is clearly defined and largely self contained with remarkably few personnel roles carrying over from phase to phase. And, in a bigger view, virtually no allowance for corss-pollination between phases.

By contrast the Digital Age doesn't necessarily demand but it certainly prompts, coerces and entices us with opportunities to conceive and work out side of these modes. Digital tools by their own natural evolution and internal logic invariably construct a workflow and process that is integrated, non-linear and focused on the spectrum of cinema as parallel delivery options rather than the hierarchy of privilege and implied delivery value

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