It has now been twenty years since I graduated in Cinematography from the Centro Sperimentale di Cinematografia in 2004, and much has changed in the world, as well as in the microcosm of the film industry. We have moved from a reality that evolved somewhat more slowly, with fewer options as well as fewer choices, to one with constantly developing options and an almost infinite range of possibilities. The digital revolution has been a true game-changer, with an epochal impact on film production’s language and technology. That said, film remains an important medium, just like many other technologies that are now part of the extensive range of options available to us at this historical moment. The digital revolution has led to cameras of all weights and sizes, for every type of shot and project, with continually evolving sensors and formats. It has given rise to new support and stabilisation systems, as well as aerial and underwater filming techniques. It has offered the ability to view the image as it is captured, with a clarity and fidelity previously unimaginable.
All of this has allowed greater access to cinematography, increasing the interest of new generations who, alongside the older ones, have utilised these new tools in unprecedented ways, sparking further evolutions. Today, everyone has the opportunity to shoot a film of acceptable quality, with tiny cameras even, often photographic ones with video capabilities, or with cameras that are not necessarily top of the range, or with a smartphone as it happens — at a level that an individual could not have previously achieved with their resources. At the same time, the quality of high-end cameras used in today’s productions is increasingly astounding, and the possibilities for manipulating the image in post-production are dazzling. Not to mention the evolution of lighting equipment, the development and establishment of LED technology across the global film industry, battery-powered lights, the ability to control dozens of units from a simple tablet, to animate and colour them in any hue in no time at all, the invention of dozens of new lens sets, both prime and zoom, to suit every taste and at any aperture, new virtual studios, the combination of old and new technologies… I could go on for hours and I would surely forget something. All of this, as I mentioned, has led to an evolution of cinematic language. The new tools have been used creatively in ways not necessarily imagined at the outset, inventing new ways to describe and light a scene, frame an actor, and convey a mood or an atmosphere. There is something new, curious, and interesting being introduced to the cinematic market every week, further enriching our choices and offering new creative possibilities. Something is intriguing to see, a creative idea to discover, a talent to admire every day.
Keeping up with so many updates, sometimes real technological revolutions, and especially with the creative use that directors of photography make of them in the field, requires students, enthusiasts, and professionals alike to stay constantly informed. Moreover, in Italy, there has always been a lack of literature dedicated to the world of national and international cinematography, forcing us to rely on Anglo-Saxon literature, as well as French, Spanish, and German literature to a lesser extent for many years. Compared to what could be found here, these have offered a broader and deeper selection, as well as more current and educational material. Apart from a few publications on equipment manufacturers’ or suppliers’ websites, and some excellent retrospective publications, Italy currently lacks a true magazine on the subject, except for the publications by Edizioni Artdigiland and the magazine “Eki “ which however take a more monographic approach. Nor do we have a website dedicated to every aspect of the world of cinematography, managed by industry professionals as happens in other countries, where we can keep up to date on what is happening in our field month by month. For years, I’ve been able to learn everything about how foreign colleagues approach their films, develop their looks, the visual language of their films, interact with the director and other collaborators, what tools they use, and so on. Rarely, however, I have had the chance to learn much about Italian colleagues, apart from those I’ve been fortunate enough to ask directly. I have always wondered how I could learn more about them because frankly, our cinematography deserves to be explored in depth, as every national reality has its characteristics, its protagonists, its budgets, its tools, its timelines, and dynamics. Now that I have so much to do with my colleagues within Collettivo Chiaroscuro, I admit I admire more and more the quality and talent they demonstrate film after film, shot after shot. I believe it is important for us all – and for those who want to know more – to have a platform where we can share our knowledge and experiences, where we can host our collaborators, give space to valuable projects that, for one reason or another, have not had the spotlight, and where we can open a dialogue with the outside world. The website of Collettivo Chiaroscuro aims to fill this gap, becoming the go-to reference point for all those who want to inform and educate themselves, not only from a technical standpoint but also, above all, from an artistic, personal, and professional perspective. I hope that future collaborations with our partners and supporters will lead to further in-depth content, new sections of the site, and in-person initiatives. I hope that in the future, this site will become the main online portal for the industry and that when a young person, approaching this profession for the first time, will ask where he or she can go find information on any topic related to cinematography in Italy, the answer will be one and only: the Collettivo Chiaroscuro website.
