It’s a mish-mash of content, technology, formats, cameras and good intentions. All this with a real consideration of the audience, present and future.
Was that statement confusing? The shoot I’m referring to included some high-end production with the end goal being web-based content.
We started with the RED One, shooting in 4K resolution, twice what we’re watching on our HDTVs. Mix in the Canon 7D HDSLR and it’s a very fun and progressive day. The client is looking to future-proof the acquisition to possibly re-purpose the material for years to come. The thinking is, with the 4K resolution, this quality material emphasizes the importance of the content for the viewer. The high resolution images signal to the viewer that effort was put into the production, that the standards are higher, and the perception then, is you are viewing important material. It also allows the client many options in the post booth–it’s easier to down-rez than go up, and when editing, it’s easy to push in on the original video and capture a close-up without having the material pixelate. It’s like having multiple cameras; one master shot can spawn other cuts, all clean and pristine. They’ve been very happy with the images even if it chews through the terabytes on their servers.
So, I’m in love with the images coming from both cameras and I’m thrilled with the high quality in spite of the relatively low-budget. It seemed like a lot of technology for the lowly needs of some highly compressed web pages. Do you think many other clients are valuing their archival material this way?
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