I just returned from a whirlwind trip to NAB. Two things stood out as “technologies to watch” that the advertising industry should be considering now with an eye to the future.
With Sony’s game-changing price reduction in 4K/ULTRA HD Home Televisions to under $5,000 (from $30K List at CES), many consumers will soon have access to 4 times the resolution of HD piped right into their home. On the production side, Blackmagic announced a 4K camera to their lineup that is under $4,000. There were impressive 4K/Ultra HD displays everywhere from Samsung, Toshiba, LG, which are sure to release competitive prices shortly.
The question becomes: should commercials be finishing in 4K? Aesthetically, true 4K is a radically immersive and eye-popping experience. We’ve finally reached “retina display” and there is a visual difference between HD playing on an Ultra HD TV and true 4K content playing natively at 4K. But is it too early?
Clearly television is not going to be broadcast in UltraHD for a few years; however, having a 4K master would prepare Brands for that transition and provide unique advertising opportunities on 4K cinema and Ultra HD displays that are looking for 4K content. The wisest path would be to shoot for a negative format that allows for 4K future-proofing.
On the production side this requires either a digital camera with a high resolution digital negative (RED 4/5K, F55 RAW, F65 4K RAW, Alexa 3K RAW, Canon C500 4K RAW, Canon 1DC 4K AVHC, Blackmagic 4K) or 35mm film which has 4K resolution on the film negative and can be scanned to 4K for cheaper than generally perceived. On the postproduction side it is important to work with vendors that are setup for cost effective approach to 4K color grading and finishing: HD for today and a matching 4K master for tomorrow.
If you’re going to consider 4K, you’d be wise to have a plan for big data management from camera all the way through post and archive. Reviewing all of the systems and emerging technologies goes beyond the scope of this piece, but I say that there are some very smart solutions at an increasingly reasonable price point.
We are in the business of creating beautiful images and narratives that, when done well, engage audiences if only for seconds or minutes. In this rapidly changing landscape we have largely overlooked archiving and future proofing content. We need to ensure that the time, creativity and money spent today doesn’t disappear tomorrow.
Paul Korver is managing director of and the principal in Cinelicious.
Director Lu Villaca Joins MADRE
Production company MADRE has added Brazilian director Lu Villaça to its talent roster. With degrees in cinema and performance and a master’s in screenwriting, Villaça brings a multifaceted approach to filmmaking. Villaça’s tastes have been shaped by her childhood training in ballet, studying Greek theatre texts, her passion for music, and her contemplative nature. She honed her cinematic skills early on as an AD and creative assistant before becoming a director. Intent on capturing the drama of everyday life as it plays out, Villaça is tuned in to how the bodies in her frame move through their environments and what elements of the story can be extrapolated from these compositions. Her sharp attention to detail in every aspect, from lighting to the final edit, is designed to connect emotionally with her audience. Villaça has been awarded three Cannes Lions for her film “Next Minute Law,” which promoted awareness of a law in Brazil designed to address the rampant epidemic of sexual violence. “Next Minute Law” also garnered Best Direction at El Ojo and the Ciclope Latino Festival, where Villaça also won Best New Talent. Additionally, she has directed assorted commercial campaigns for brands like Johnnie Walker, Huggies Wipes, Nestlé, Amazon, A.C. Camargo Cancer Center, and a spot for Medley featuring Brazilian Olympic gymnast Rebeca Andrade. Prior to joining MADRE, Villaca had been repped by production house LOBO. Recognized in Brazil as a top music video director, Villaca won Best Female Direction for her work on “Nu” by Assucena and “Lovezinho” by Rachel Reis, which also won Best National Music Video at the MVF Awards. Villaça additionally co-directed the documentary Pagliacci, an homage to circus artist Domingos Montagner... Read More