Just as SHOOT sought out members of the technology community for their takes on the transition to digital TV and its implications, so too were heads of leading trade associations invited to provide feedback.
The two-pronged question posed to them read:
What advice would you offer to post facilities and producers (that are active in commercials and other forms of sponsored content) about how to best adapt to–and benefit from–the fast approaching transition to digital television (DTV)? Have you any suggestions relative to how they should eye new technologies when it comes to considering investing in, renting or experimenting with hardware and software related to DTV?
Here are perspectives from four leading industry organizations: The Association of Independent Commercial Producers, the Association of Independent Creative Editors, the Hollywood Post Alliance, and the Production Equipment Rental Association:
John Johnston, executive director,
Production Equipment Rental Association (PERA)
I think the DTV conversion date should be delayed until 01/10/10 so we have a date that’s all ones and zeros. But come February 17th next year, the FCC, somewhere will pull that big switch and life in fringe reception areas may never be the same. Maybe that’s why the date is after the election.
To put some advice about the digital transition into 200 words makes me think about adding 193 more to George Carlin’s list. But enough cynical thinking. It’s going to be just fine. Actually the commercial production, post production infrastructure is very well prepared on the content creation side.
It’s still all about preparation and planning. Workflow is more than a buzzword. Thinking through the project and the process has never been more important. DTV specs include 18 possible outputs, the end result of numerous image acquisition file formats combined with several post platform variables, viewed on different types of displays in one or the other aspect ratios. Someone should do the math to compute the number of total possibilities.
Trust your DP. Remember if you can see it, you can scan it. Film works.
So does digital. But listen to your DIT. Even if you don’t understand a thing he /she says.
Know what your workflow will be. Talk to your post facility. Some things can be fixed in post. And some things can’t. Ouch.
Choose your production equipment wisely and from a rental company that can provide the service to properly check equipment out. Know that they can back up the rental package if something goes down on set. Pick a rental house that has all the proper accessories to work with the camera package. Know they are going to come through on technical advice and support when you need it.
Production insurance and prayer are additional options.
Matt Miller, president/CEO,
Association of Independent Commercial Producers (AICP)
Two words: Pay Attention!
Make it a priority to educate yourself about the process, and look at the transition from all angles, paying particular attention to what applies to the sector of the business you are working in. There is a great deal of information out there, from a variety of sources; some is accurate, and some is not. Don’t rely on hearsay, or advice from friends of friends.
Above all, understand the real-world applications, be realistic about the process, communicate costs and other factors to clients, and plan accordingly.
Burke Moody, executive director,
Association of Independent Creative Editors (AICE)
The Digital Transition in February 2009 will be the final, small step in providing an all-digital transmission and distribution path for television programming and advertising in the U.S. In the television commercial production space, all-digital workflows are just beginning to emerge as more and more projects are shot with file-based, tapeless cameras–the Red and P2 cameras are common–edited, finished and distributed digitally.
Having worked on digital platforms for in excess of 15 years, more recently finishing and delivering DTV content in HD and comfortable in networked media environments, creative editorial companies are well-positioned to meet the challenges of the all-digital pathway. From transcoding camera files for ingest, to prepping 2K or 4K files for color grading, to 5.1 surround audio design, they are confronting the issues, discovering solutions, engineering new ways of doing things and establishing the new workflow models which will become standards in the industry tomorrow.
In the meantime, the transition from the very well-established and reliable film-originated work model to a virtually experimental one, grappling with technologies in a constant state of flux, is disruptive, challenging and thrilling.
Leon Silverman, president,
Hollywood Post Alliance (HPA)
The impending transition to DTV has to a large extent been made possible by the Hollywood postproduction community who not only heard the call at the dawn of the digital era, but put up its money and its talent to make it happen. We hear a lot these days about the deadline for DTV but the fact is that for the Hollywood Post Alliance community, this is really old news. Since the 1999-2000 television season when our community first started delivering television product, our community has invested, trained and has long since risen to the challenge. Our community reacted to this impending transition by understanding the opportunities and working together. Our postproduction industry has over the past 25 years gone through tremendous change, both in the way content is created and distributed. The key to thriving and surviving in these times of change is to understand the impact of these changes and to work together as an industry to meet the challenges and opportunities head on. I am proud of how our Hollywood Post community has helped to create a day where the content is seamlessly delivered and ready for this transition.
