DANA DOLLY UNIVERSAL PORTABLE DOLLY SYSTEM

THE DANA DOLLY UNIVERSAL PACKAGE IS AVAILABLE FOR HIRE.

DESIGNED FOR THE TIMES WHERE YOU JUST WANT TO DO A LITTLE 5' TO 10' DOLLY MOVE WITHOUT A LOT OF GRIP DEPT. SETUP & RESOURCES INVOLVED WITH THE LIKES OF A CHAPMAN.

THE DANA DOLLY IS EASY TO SET UP, CAN BE USED WITH A VARIETY OF TRACK OPTIONS, AND CAN BE SUPPORTED USING STANDARD JUNIOR STANDS, APPLE BOXES, OR THE GROUND, WHATEVER THE SHOT REQUIRES.

THE DANA DOLLY IS A GREAT SOLUTION FOR ADDING PRODUCTION VALUE TO YOUR SHOOT. DESIGNED TO BE FLEXIBLE, AFFORDABLE, AND EASY TO SET UP FOR CINEMA CAMERA PAYLOADS UP TO 20KG, THE DESIGN IS BOTH SIMPLE AND PRACTICAL. THE MITCHELL MOUNT CAN TAKE ALL TYPES OF CAMERA HEADS WITH AVAILABLE ADAPTERS INCLUDING 150MM, 100MM & 75MM BOWL MOUNTS. THE SIXTEEN WHEEL DESIGN WITH FLOATING TRUCKS PROVIDES A SMOOTH GLIDE. THE TRACK ENDS AND CENTER SUPPORT CAN USE ANY 1 1/4" PIPE AS A TRACK: ALUMINUM, STAINLESS STEEL, ETC. SO IF YOU'RE ON LOCATION AND DON'T WANT TO PACK TRACK, YOU CAN STOP BY BUNNINGS AND PICK UP SOME PIPE OR CONDUIT AS AN ALTERNATIVE TO THE SCHEDULE 80 ALUMINUM PIPE WE PROVIDE FOR LOCAL PRODUCTIONS.

FAST AND PORTABLE DOLLY SYSTEM

ALUMINUM CONSTRUCTION 

BLACK INDUSTRIAL FINISH TO MINIMIZE REFLECTION

UNIVERSAL TRACK ENDS WORKING WITH EITHER "BABY" OR "JUNIOR" STANDS, AND ANY SIZE PIPE FROM 1 1/4" TO 1 1/2".

SOFT POLYURETHANE WHEELS PRECISION MACHINED ROUND , ABEC-7 PRECISION BEARINGS

KIT INCLUDES DANA DOLLY, 2-TRACK ENDS, CENTER SUPPORT, 150MM, 100MM & 75MM ADAPTERS,

6' & 12' TRACK AVAILABLE FOR LOCALLY BASED PRODUCTIONS

PRECISION SMOOTH, LARGE PAYLOAD, UNIVERSALLY PORTABLE TRACK RUNS PROVIDING CAMERA MOVES BEYOND LIGHTWEIGHT SLIDER TYPES

CINEMA STANDARD GRIP EQUIPMENT, MADE IN THE USA,  

ROBBIE MADDISON - DRIVEN BY ADRENALINE

WORKING ON THIS BRAND CONTENT FILM FOR HOLDEN SPECIAL VEHICLES HSV, WITH DIRECTOR / EDITOR CHRIS PHILLIPS AND ROBBIE MADDISON.

IT WAS A JOY TO CATCH UP WITH ROBBIE WHOM I HAVE A LONG PAST HISTORY WITHIN ACTION SPORTS, THE MOTO INDUSTRY AND THE LATE JONO PORTER (RIP). DURING THE INTERVIEW, HEARING ROBBIE'S NEW FOCUS ON FAMILY AND THE FUTURE WAS INSPIRATIONAL.

THE WEATHER WAS AGAINST US ON LOCATION, TRYING TO MAKE EVERY GAP WITHIN THE DOWN POURING RAIN COUNT TOWARDS THE TIME WE HAD TO CAPTURE PRODUCTION.. CHRIS HAS DONE A GREAT JOB TO PULL THIS STORY TOGETHER WITH SOME UNFORGETTABLE MOMENTS OF ROBBIE'S HISTORICAL CAREER ACHIEVEMENTS.

HANDING OVER FROM A PREMIER PROJECT TO DAVINCI RESOLVE

HANDING OVER FROM A PREMIER PRO PROJECT TO DAVINCI RESOLVE

THE FOLLOWING ARE SPECIFICATIONS FOR PREPPING TO HANDOVER YOUR PREMIER PROJECT. MATERIAL THAT DOES NOT MEET THESE SPECIFICATIONS WILL NEED TO BE REFORMATTED AT ADDITIONAL EXPENSE.

• PLEASE PROVIDE A MIX DOWN PRORES 422 MOV FILE WITH TIME CODE WINDOW BURN AS A PICTURE REFERENCE. THIS REFERENCE FILE NEEDS TO BE REVIEWED PRIOR TO DELIVERY TO US FOR ANY MISTAKES, AS IT IS OUR GOLD STANDARD REFERENCE OF YOUR EDIT. IT WOULD ALSO BE HELPFUL IF THE WINDOW BURN ALSO INCLUDED THE SOURCE TC & CLIP NAMES OF THE RAW MATERIAL.

         - TO APPLY A TIMECODE GENERATOR
            1, ADD ADJUSTMENT LAYER TO THE TIMELINE
            2, ADD EFFECTS/VIDEO/TIMECODE  
            3, TIMECODE SOURCE - GENERATE
            4, LABEL TEXT AUTO (TCG)

         - TO ADD SOURCE TC AND CLIP NAME
            1, ADD EFFECTS/VIDEO/CLIP NAME
            2, ADD EFFECTS/VIDEO/TIMECODE - TIMECODE SOURCE/MEDIA
            3, ONCE CORRECTLY SET, PASTE EFFECTS ATTRIBUTE TO ALL CLIPS IN THE TIMELINE.

• SIMPLIFY THE TIMELINE. IT SHOULD CONSIST OF AS FEW TRACKS AS POSSIBLE. ONE TRACK IS IDEAL, BUT IT IS UNDERSTANDABLE THAT SOME EFFECTS AND TITLES MAY REQUIRE ADDITIONAL TRACKS.

• REMOVE ALL NESTS IN THE TIMELINE.

• JOIN ANY THROUGH EDITS.

• CHECK TO SEE THAT THE CLIPS / REELS REFER TO THE ORIGINAL CAMERA FILENAMES AND REEL NAMES. FIND A CLIP REFERENCED IN YOUR TIMELINE IN ITS BIN AND MAKE SURE THE ‘CAMERA ROLL’ COLUMN HAS THE FULL, 16-CHARACTER RED NAME OR ALEXA NAME (FOR EXAMPLE, A001_C001_0505HE).

• MAKE SURE THERE ARE NO VARIABLE SPEED CHANGES IF POSSIBLE. ANY SPEED CHANGES SHOULD BE SET AT CONSTANT RATE. OTHERWISE IT WILL BE CONSIDERED A VISUAL EFFECT AND SHOULD BE NOTED, BILLED AND PROCESSED ACCORDINGLY.

• MARK SPECIFIC EDIT ITEMS IN THE TIMELINE. PLEASE PLACE LOCATORS IN THE TIMELINE TO MARK AND ALL EFFECTS AND KEYFRAMES TO THOSE EFFECTS. PLEASE DO THIS FOR SCALE CHANGES, REPOSITIONS, RETIMES, BACKWARDS RETIMES, ANYTHING WITH KEYFRAMES, FLIPS, FLOPS, ETC. ANYTHING NOT MARKED MAY NOT CARRY OVER INTO THE CONFORM. ALSO BE SURE TO MARK ALL VFX SHOTS IN THE TIMELINE USING APPROPRIATE VFX SHOT NAMES.

• EXPORT THE MARKET LIST. FILE/EXPORT ‘EXPORT MARKERS’- FILE.HTML

• CONSOLIDATE THE PROJECT. PLEASE CONSOLIDATE YOUR TIMELINE(S) ONTO THE ONE DRIVE YOU PLAN TO DELIVER TO US.

• IF NOT USING PREMIER PRO TO TITLE A HD PROGRAM ALL GRAPHICS, LOWER THIRDS, KEYING CONTENT NEEDS TO BE PROVIDED WITH AN ALPHA CHANNEL FILE FORMAT LIKE TIFF. CALL TO CONFIRM WORKFLOW DETAILS FOR YOUR PROJECT.

• VFX DELIVERY SPECS: DPX FILES OR OPEN EXR. ANY OTHER FORMAT NEEDS TO BE APPROVED BY TOBY HESLOP.

• IF WE ARE PULLING VFX PLATES, NAME AND MARK ALL VFX SHOTS WITH STANDARD INDUSTRY NAMING (NAME_REEL_NUMBER_COMP_VERSION) EXAMPLE: MNO_R1_020_COMP_V001)

• FILE SEQUENCES MUST FOLLOW THESE RULES:

        - FILE NAMES MUST INCLUDE A NAME AND FRAME NUMBER OR OTHER APPROPRIATE NAME. (EXAMPLE: TITLE_REEL1_00001.DPX)
        - FILE NAMES SHOULD NOT INCLUDE ANY SPACES
        - FRAME NUMBERS MUST HAVE ENOUGH LEADING ZEROS SO THAT THEY SORT PROPERLY. WE USE 6 DIGITS. (00001, NOT 1)
        - IF THERE ARE MULTIPLE REELS OR SHOTS THEY MUST BE IN A SEPARATE SUB-FOLDERS OF THE MAIN TITLE FOLDER.
            - TITLE
                   - REEL1
                   - REEL2
                   - ETC.

DELIVER ALL THE MATERIALS (THE REFERENCE FILE, CONSOLIDATED PREMIER PROJECT, LOCATOR LIST, TITLES, VFX, AND ORIGINAL CAMERAS, ETC.) TO TOBY HESLOP
PLEASE USE EXTERNAL THUNDERBOLT/USB3 DRIVES OR RAID. CALL TO CONFIRM IF THIS IS NOT YOUR STANDARD.

A SPEC SHEET IS PROVIDED HERE FOR SUBMISSION WITH YOUR PROJECT

FOXTEL - MAX SESSIONS TVC FLYS OUT THE WINDOW

THIS FOXTEL MAX SESSIONS PROMO JUST LAUNCHED WHICH I HAD THE PLEASURE OF DPING WITH DIRECTOR MARK BLONDEL. WE HAD SOME FUN WITH THE RED DRAGON ON A DJI RONIN SHOOTING LAMP SHADES ON WIRE RIGS AND PLATES FOR 3D COMPOSITING. I THINK IT'S FAIR TO SAY THE GUYS DID AN AWESOME JOB IN POST ON THIS ONE.

5 REASONS TO TALK TO YOUR DP DURING THE PRE PRODUCTION PROCESS

MAKE NO MISTAKE ABOUT IT, PRE PRODUCTION PREPARATION CAN MAKE OR BREAK A SHOOT.  MANY PROJECTS CAN HAVE MONTHS OF PREPARATION BUT ALLOW LESS THAN TWO WEEKS OF PRINCIPLE PHOTOGRAPHY.  TIME IS OF THE ESSENCE!  WITH THE TREND OF SHRINKING BUDGETS, A COMMON RESULT IS COMPROMISED VISUALS (AS WELL AS OTHER ASPECTS OF PRODUCTION).  “RUN AND GUN” SHOOTING WILL YIELD “RUN AND GUN” RESULTS.  I’VE BEEN ON COUNTLESS SHOOTS THAT HAD AN OVERLY AMBITIOUS SHOT LIST AND RESULTED IN MANY SHOTS BEING CUT, CAMERA MOVES BEING CUT, 14+ HOUR SHOOT DAYS, AND AN OVERALL COMPROMISE OF QUALITY.  TODAY’S ENTRY WILL TALK ABOUT FIVE DIFFERENT REASONS YOU SHOULD BE IN SOLID COMMUNICATION WITH YOUR DP DURING THE PRE PRODUCTION PROCESS TO HELP GET THE BEST RESULTS YOU CAN FOR YOUR PROJECT.  

1. KNOWING HOW LONG THINGS WILL TAKE TO SHOOT.

CHANCES ARE, YOUR DP CAN GIVE YOU A VERY ACCURATE ESTIMATE AS TO HOW IT WILL TAKE TO SET UP A SHOT.  BUT WE ALL KNOW IT’S NOT JUST SETTING UP THE SHOT…  IT’S GETTING FOCUS MARKS, CRITICAL FOCUS CHECKS, AND SPIKING MARKS FOR ACTORS; LENS SWAPS; MATTE BOX AND FILTER ADJUSTMENTS; BLOCKING AND PRACTICING A CAMERA MOVE BEFORE ROLLING ON A TAKE; GETTING A FRAME HEIGHT FOR THE BOOM OP; LOCKING DOWN THE SET;  CAMERA SUPPORT ADJUSTMENT; RIGGING, TWEAKS TO LIGHTING; SLATING; AND SO MANY OTHER FACTORS.  AFTER A CERTAIN AMOUNT OF TIME, DPS REALLY KNOW HOW LONG IT WILL REALISTICALLY TAKE TO PULL OFF EACH SHOT AND CAN HELP YOU PLAN A REALISTIC SCHEDULE AND CALL SHEET.  THERE ARE SOME SHOTS THAT WILL TAKE LESS THAN FIVE MINUTES.  THERE ARE SOME SHOTS THAT ARE VERY COMPLICATED AND WILL TAKE SEVERAL HOURS TO SET UP.  THE MORE REALISTIC YOUR SCHEDULE IS, THE MORE OF YOUR SHOTS YOU WILL MAKE HAPPEN WITHOUT ROLLING INTO OVERTIME OR INTO A DAY OF PICKUPS.  WHETHER IT’S AN ESTIMATE OF DAYS REQUIRED TO SHOOT A FULL PROJECT – OR AN ESTIMATE OF HOURS NEEDED TO SHOOT A SCENE, YOUR DP CAN BE A GREAT ASSET IN SETTING AN ACHIEVABLE SHOOTING PLAN.  TRUST YOUR DPS – WE SHOOT ALL THE TIME AND KNOW THIS STUFF… IN THE EARLY STAGES OF SHOT LIST REVIEW, HERE’S HOW I DO AN EXTREMELY QUICK TIME ESTIMATION BREAKDOWN IF THERE SEEMS TO BE TOO MANY SHOTS FOR THE AMOUNT OF TIME ALLOTTED:     

•    QUICKLY COUNT OR ACCURATELY ESTIMATE HOW MANY SHOTS ARE LISTED FOR THE PERIOD OF TIME   

•    DIVIDE THE TWO NUMBERS TO FIND OUT THE AVERAGE AMOUNT OF TIME ALLOCATED PER SHOT (IF ALL THINGS ARE EQUAL)    

•    FACTOR IN HOW MUCH TIME YOU KNOW WILL TAKE FOR SETTING UP THE SHOT, LIGHTING, LENS SWAPS, ART DEPT TWEAKS, BOOM HEIGHT CHECK, SLATING, ETC.     

•    INTERPOLATE THE DATA TO COMMUNICATE WITH THE DIRECTOR, PRODUCER, AND OR 1ST AD IF ADDITIONAL TIME IS REQUIRED FOR THE SHOTS LISTED (OR HOW MANY SHOTS NEED TO BE CUT) – OR DO A ROUGH CALCULATION OF HOW MANY SHOTS YOU BELIEVE YOU CAN ACCOMPLISH WITHOUT COMPROMISING QUALITY  

2. VALUABLE INPUT ON PLANNING YOUR SHOT LIST.

“WE HAVE TOO MANY SHOTS AND NOT ENOUGH TIME – SOMETHING HAS TO BE CUT.” “WHY NOT COMBINE THREE OF THESE SHOTS (POINTING TO THE SHOT LIST) BY DOING THIS COOL CAMERA MOVE?  IT WILL BE VISUALLY DYNAMIC FROM THE CAMERA MOVEMENT AND WILL SAVE US TWO SET-UPS…” “YES.  LET’S DO THAT.” FOR ONLY $19.95, THIS SCENARIO CAN BE YOURS, FOLKS!  JUST KIDDING – THIS IS THE STUFF THAT’S FREE AND SAVES YOU TIME ON SET.  THIS IN TURN SAVES YOU MONEY OR INCREASES YOUR PRODUCTION QUALITY FROM FINDING A NICE BALANCE BETWEEN CUTTING SHOTS AND NOT COMPROMISING QUALITY.  IN COMBINATION WITH ITEM 1, YOUR DP CAN USUALLY LOOK AT YOUR SHOT LIST AND TELL YOU IF WHAT YOU HAVE PLANNED IS TOO MUCH FOR THE AMOUNT OF TIME YOU’RE TRYING TO DO IT IN.  LET YOUR DP HELP YOU WITH THIS.  HE OR SHE CAN SUGGEST VARIOUS WAYS TO ACHIEVE THE END RESULT THAT YOU WANTED WITHOUT SIMPLY SLASHING YOUR SHOT LIST AND REMOVING CONTENT FROM THE SCENE.  BY COMBINING SHOTS, YOU CAN SAVE A LOT OF TIME ON SET AND PRESERVE THE INTEGRITY OF YOUR SCENES.  THIS WILL ALSO HELP YOUR FINAL EDIT AND PREVENT YOUR EDITOR FROM HAVING AN ANEURYSM.  

3. PREDICTING POTENTIAL SNAGS FOR SHOOTING AND SUGGESTIONS FOR WAYS TO PREVENT THEM.

HAVE YOU EVER SEEN A COMPLICATION FROM A MILE AWAY?  I SEE THEM ALL THE TIME.  THIS MIGHT BE LIGHTING ISSUES, COMPLICATIONS WITH REQUESTED CAMERA MOVES, LOGISTICAL TERRAIN ISSUES, WHATEVER…  DPS ARE CONSTANTLY THINKING IN TERMS OF LOGISTICS AND PROBLEM SOLVING/PROBLEM PREVENTION.  WHEN YOU INVOLVE YOUR DP IN THE PLANNING STAGES, HE OR SHE CAN HELP POINT OUT POTENTIAL LOGISTICAL OBSTACLES AND SUGGEST WAYS TO PREVENT THEM FROM SLOWING DOWN THE PRODUCTION, CIRCUMVENTING THE ISSUE ALTOGETHER, OR OFFERING UP A HANDY WORKAROUND.  AT THE END OF THE DAY, THE MORE TIME YOUR DP HAS TO CRAFT HIS OR HER SHOTS, THE MORE BEAUTIFUL THE IMAGERY IN PROJECT CAN BE.  THERE’S NOTHING WORSE THAN WHEN A PRODUCTION COMES TO A SCREECHING HALT BECAUSE OF AN ISSUE THAT COULD HAVE BEEN PREVENTED.  

4. SAVING TIME ON SET BY BEING ON THE SAME PAGE.

SOMETIMES, A DP IS KEPT TOTALLY IN THE DARK UP UNTIL THE TIME HE OR SHE WALKS ONTO THE SET.  NO SCRIPT PAGES.  NO NOTES.  NO SHOT LIST OR STORYBOARDS.  JUST AN ADDRESS AND A CALL TIME.  THIS IS AN EXCELLENT THROW AWAY VALUABLE TIME ON SET.  AS A RESULT, THE DIRECTOR WILL NEED TO EXPLAIN EACH SHOT THAT HE OR SHE WANTS.  THERE’S NO WAY TO PREPARE.  THERE’S NO PRIOR UNDERSTANDING OR MENTAL PREPARATION OR BENEFICIAL INPUT FROM THE DP ON HOW THE SCENE CAN BE SHOT.  IT’S A ROLL OF THE DICE WHEN IT COMES TO QUALITY AND A DEFINITE DELAY FOR ON-SET.  DISCUSSION = TIME. THE MORE PREPARATION YOU HAVE BY WAY OF SHOT LISTS, TECH SCOUTS, DIAGRAMS, STORYBOARDS, PRE VIS, NOTE, ETC – THE MORE THAT EVERYONE WILL BE ABLE TO EFFICIENTLY FUNCTION ON SET WHILE MAXIMIZING TIME.  THIS BRINGS US TO ITEM 5.  

5. REDUCING CHAOS ON SET WITH SHOT LISTS, DIAGRAMS, AND STORYBOARDS.

I ABSOLUTELY LOVE STORYBOARDS.  SADLY, I RARELY GET THEM.  I’M QUITE COMFORTABLE WITH SHOT LISTS IN CONJUNCTION WITH SKETCHING OUT THE AREAS WE’LL BE SHOOTING.  THIS HELPS ME KNOW WHAT THE FRAME SHOULD BE, THE LENS I’M GOING TO CHOOSE, HOW MUCH ROOM I’LL HAVE TO PERFORM CAMERA MOVES, HOW THE SCENE WILL BE LIT, AND A MYRIAD OF OTHER MASSIVELY IMPORTANT INFORMATION.  WHAT’S EVEN BETTER IS THAT I CAN THEN COMMUNICATE THIS INFORMATION WITH OTHER DEPARTMENTS SO THEY KNOW WHAT’S GOING TO BE IN FRAME (ART DEPT), HOW TIGHT THE SHOT WILL BE (AUDIO DEPT), WHOSE FACE WILL OR WILL NOT BE ON SCREEN (HMU), ETC.  THIS ALL TRANSLATES INTO A REDUCTION OF CHAOS ON SET WHERE THERE ARE FEWER PEOPLE ASKING QUESTIONS ABOUT WHAT’S HAPPENING AND MORE PEOPLE KNOWING WHAT’S GOING ON (AND EXECUTING THEIR TASKS). THERE WILL ALWAYS BE DELAYS, SNAGS, AND A CERTAIN LEVEL OF MISCOMMUNICATION/CHAOS ON SET – SO ANYTHING THAT CAN BE DONE TO REDUCE THAT IS A STEP IN THE RIGHT DIRECTION.  AGAIN, DISCUSSION ON SET = TIME.   OBVIOUSLY ALL DEPARTMENT HEADS FACTOR INTO THE PRE-PRODUCTION PLANNING AND I HAVE NO INTENTION OF DOWNPLAYING ANY OTHER DEPARTMENT’S ROLE IN A PRODUCTION.  FILM MAKING IS DEFINITELY A GROUP EFFORT AND EVERYONE INVOLVED IS NEEDED TO MAKE IT HAPPEN.  HOPEFULLY THIS POST HELPS COMMUNICATE SOME OF THE WAYS YOUR DP CAN HELP THE PRE PRODUCTION PROCESS AND IN TURN – HELP YOUR FINAL PRODUCT.  

HAPPY SHOOTING!

MOTION CAPTURE AT 4K AND BEYOND

HIGH RESOLUTION CAPTURE IS BENEFICIAL EVEN WHEN THE OUTPUT RESOLUTION IS REDUCED. ADVANTAGES INCLUDE BETTER IMAGE QUALITY, BUT ALSO EXTEND TO LESS FAMILIAR AREAS INCLUDING CREATIVE FLEXIBILITY, POST-PRODUCTION, PRINTS AND FUTURE-PROOFING. THIS ARTICLE SUMMARIZES HOW EACH OF THESE ASPECTS IS INFLUENCED.

OVERVIEW

BETTER RESOLUTION HAS BEEN A PRIMARY GOAL OF TECHNOLOGICAL ADVANCES IN CONSUMER VIDEO AND CINEMA OVER THE PAST SEVERAL DECADES – FROM VHS TO DVD TO BLU-RAY. WITH THE RECENT PUSH TOWARD EVEN HIGHER RESOLUTION DISPLAYS, SUCH AS APPLE’S RETINA DEVICES, THIS TREND IS EXPECTED TO CONTINUE. IN THOSE SITUATIONS, HIGHER RESOLUTION IS CLEARLY BENEFICIAL FOR DETAIL AND REALISM.

1080P

4K ULTRA HD

ON THE OTHER HAND, RESOLUTION ALSO HAS OTHER LESSER KNOWN BENEFITS – MANY OF WHICH APPLY EVEN WHEN THE OUTPUT RESOLUTION IS REDUCED. A COMMON WORKFLOW WITH TELEVISION HAS BEEN TO CAPTURE AT 4K OR HIGHER, BUT TO DOWNSIZE THIS FOR 1080P DISPLAY. ONE’S INITIAL REACTION MIGHT BE TO THINK THAT ALL THE ORIGINAL RESOLUTION HAS BEEN WASTED, AND THAT ONE COULD ACHIEVE AN EQUIVALENT RESULT BY JUST CAPTURING AT 1080P IN THE FIRST PLACE. HOWEVER, AS THE APPLICATIONS BELOW WILL DEMONSTRATE, THAT INITIAL REACTION WOULD BE A MISTAKE.

IMAGE QUALITY

FIRST AND FOREMOST, DOWNSIZED OR “SUPERSAMPLED” IMAGES SIMPLY LOOK BETTER. THEY TYPICALLY APPEAR CLEANER AND WITH FEWER ARTIFACTS, AND HAVE A MORE THREE-DIMENSIONAL QUALITY DUE TO BETTER MICRO-CONTRAST AND MTF. A 2X DOWNSIZE OFTEN REDUCES IMAGE NOISE SIMILAR TO A 1-STOP REDUCTION IN ISO SPEED WITH TRADITIONAL FILM, FOR EXAMPLE. OTHER DEFECTS, SUCH AS LENS IMPERFECTIONS AND IMAGE PROCESSING ARTIFACTS, ARE ALSO MADE LESS APPARENT. THE NET RESULT IS THAT VIDEO CODECS HAVE A BETTER INPUT IMAGE, WHICH IMPROVES BANDWIDTH EFFICIENCY AND QUALITY – EVEN WHEN SHARING AT A SMALL SIZE ONLINE.

NOTE: ABOVE COMPARISON WAS MADE USING A HIGH ISO SETTING ON A NOISY DIGITAL VIDEO CAMERA. NOISE WILL BE MUCH LOWER WITH RED®, ALTHOUGH THE QUALITY IMPROVEMENT FROM DOWNSIZING WILL BE JUST AS PRONOUNCED.

CREATIVE FLEXIBILITY

A HIGHER RESOLUTION MASTER EXPANDS THE POST-PRODUCTION POSSIBILITIES. FOR EXAMPLE, ONE CAN CROP TO CREATE AN ALTOGETHER DIFFERENT COMPOSITION, OR A TIGHTER TELEPHOTO FRAMING. ALTERNATIVELY, ONE CAN INTENTIONALLY PAD THE FRAME AROUND A MOVING SUBJECT TO DECREASE THE CHANCE THEY’LL ACCIDENTALLY FALL OUT OF FRAME. THE END RESULT IS THAT RE-SHOOTS ARE LESS LIKELY – REDUCING COSTS AND PRODUCTION TIME.

PRINT-READY STILLS

STILL FRAMES FROM 4K+ VIDEO ARE WELL-SUITED FOR PROFESSIONAL QUALITY PRINTS AT A WIDE VARIETY OF SIZES. THIS IS PARTICULARLY HELPFUL WHEN A FASHION VIDEO WILL ALSO BE USED AS A STILLS PHOTO SHOOT, OR WHEN MOVIE FRAMES NEED TO BE PULLED FOR FULL-PAGE MAGAZINE ADVERTISING. SUCH CAMERAS EFFECTIVELY MERGE THE ROLES OF PHOTOGRAPHER AND VIDEOGRAPHER.

VFX & STABILIZATION

A HIGHER RESOLUTION MASTER GIVES VFX ARTISTS MORE TO WORK WITH. ZOOMS, PANS AND OTHER CAMERA MOVEMENTS CAN BE SIMULATED IN POST-PRODUCTION WITHOUT HAVING TO PHYSICALLY MOVE THE CAMERA. EVEN PRONOUNCED VIBRATIONS OR OTHER UNINTENTIONAL CAMERA MOVEMENTS CAN BE MINIMIZED WITHOUT SACRIFICING OUTPUT RESOLUTION, FOR EXAMPLE. SIMILARLY, CORRECTIONS FOR LENS DISTORTION AND PERSPECTIVE ARE LESS DETRIMENTAL TO IMAGE SHARPNESS. KEYING AT A HIGHER RESOLUTION IS ALSO MORE ACCURATE, AND CAN BE CRITICAL WITH HAIR OR OTHER HIGHLY DETAILED GREEN SCREEN FOREGROUNDS.

FUTURE PROOFING

HIGH RESOLUTION CAPTURE ENABLES FUTURE RE-RELEASES ON NEWER FORMATS – IMPROVING THE MONETIZATION POTENTIAL OF EXISTING FOOTAGE. WE’VE ALREADY SEEN THIS HAPPEN WITH STANDARD DEFINITION CONTENT RENDERED UNUSABLE WITH THE MOVE TO HIGH DEFINITION – THOSE THAT DIDN'T KEEP UP WERE OUT OF LUCK WHEREAS THOSE CAPTURING HD WERE ABLE TO REPURPOSE THE CONTENT CREATING A SUBSTANTIAL STREAM OF ADDITIONAL REVENUE. WITH A FUTURE THAT WILL INCLUDE INTERNET DELIVERY TO 4K ULTRA HIGH RESOLUTION DISPLAYS AND PROJECTORS (UHD), HAVING HIGHER RESOLUTION FILES WILL BECOME MORE IMPORTANT THAN EVER.

HEAD SPORTSWEAR - FRESH UP YOUR MIND - TENNIS

HEAD SPORTWEAR RECENTLY LAUNCHED A CONTENT SERIES 'FRESH UP YOUR MIND' WHICH I WORKED ON VERY EARLY THIS YEAR AS THE GIMBAL OPERATOR FLYING A RED DRAGON CINE PACKAGE. AN ALL INTERNATIONAL CAST, AGENCY AND CLIENTS ON THIS ONE, WITH A FRENCH DIRECTOR AND KOREAN CLIENTS. THERE'S ABOUT 8 VIDEOS ONLINE IF YOU KNOW HOW TO SEARCH GOOGLE.

RED DRAGON - INFO AND DATA