Buy amoxicillin, [caption id="attachment_248" align="alignleft" width="300" caption="The Red One Camera System, http://www.red.com"]
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Videographers and dance film makers should be quite pleased to read the above, especially because they were not spoken by me, but by Alistair Spaulding of Sadler's Wells as part of his plenary speech on Saturday. The importance of video was a theme that permeated the conference, from Sydney Skybetter's "Less Overhead, Better Marketing" presentation Thursday morning (one whose impact will be greatly felt throughout), amoxicillin prophylaxis, to the fair use and piracy plenary and breakout sessions to the Engaging Dance Audiences and marketing sessions.
The theme of the conference was sustainability, Buying amoxicillin online, and without a doubt, video was seen as an important key in reaching that goal.
So, what is "good video", amoxicillin for tonsillitis. First and foremost, good video needs to be usable - not only for documentation and copyright protection, Strep throat amoxicillin, but for marketing and of course, commercial use. It was repeated throughout the conference that conversion rates for video to ticket sales are much higher than standard text links, so consumers are paying close attention to what they see, buy amoxicillin. If you were a department store, you wouldn't publish blurry photos of your merchandise, amoxicillin pink eye, so why think the same would be acceptable for video. If you view the Jacob's Pillow trailer, Amoxicillin hives, you'll experience a fairly wide swath of video quality. The best videos in that reel will serve their owner for years to come. Everything else will experience a steady, if not rapid decline in their utility, pneumonia amoxicillin. Buy amoxicillin, From the technical perspective, standard definition (SD) is dead and gone. If you're shooting in SD, you're wasting money and an opportunity (disclaimer - there are a scant few shops in NY that have yet to upgrade to HD who are doing a phenomenal job shooting in SD, Penicillin amoxicillin difference, but they still face obsolescence). Audiences and presenters have increasingly come to expect high quality video, so if you're thinking of submitting any video that once resided on a VHS tape for a grant, space, amoxicillin tooth abscess, promotional reel, be willing to accept that you will be at a significant disadvantage from the beginning. Amoxicillin for acne, In fact, we have already made an internal decision to stop accepting submissions of performance captures that are filmed in SD after September 30th. Not only does SD video limit the opportunities we can leverage on behalf of our partners, but when we have people telling us that they just got 10 hours of raw material in HD, amoxicillin std, and are getting it edited, SD becomes increasingly "not worth the effort". Just as important, single camera set-ups are also on the decline, buy amoxicillin. Yeast infection amoxicillin, We are a getting reports of multiple camera shoots from the field from theaters where previously only one camera was allowed.
If a theater prevented you from using more than one camera last time, don't expect the case to hold true the next time around. Don't be afraid to ask about or fight for a multi-camera setup, azithromycin vs amoxicillin.
Given the economic environment, money is certainly going to be an issue. Buy amoxicillin, We have met with many companies who have previously limited their spending on video to $1,500 or below, and board members are accustomed to viewing video documentation as an expense that should remain consistent from year to year. Amoxicillin suspension, High definition video is not an expense. Rather, it is a capital asset from which the company will benefit years into the future. Recently, amoxicillin capsule, we were discussing a licensing deal with a company that had spent over $250,000 producing an amazing New York season with exceptional dancers. Amoxicillin wiki, Unfortunately, their videographer was only equipped for SD, and to be frank, is a poor shooter on his best day, amoxicillin generic. All that time, energy, expense and artistic success, and the company has nothing to show for it but a few spreadsheets and some grainy video, buy amoxicillin.
For better or worse, this is one area where industry spending is simply going to have to increase. Amoxicillin bacterial infections, In some cases, it can increase to $3,000. In others, yeast infection from amoxicillin, it can increase to $25,000. Amoxicillin liver, There is no silver bullet for low cost, cheap filming - low end consumer cameras that claim HD recording capabilities might be suitable for home movies or posting ad-hoc rehearsal clips, but under no circumstances should these cameras be considered for performance documentation, even if just for promotional use. Buy amoxicillin, Unfortunately for consumers, the electronics field has done a poor job of standardizing what is, and what isn't HD. We previously discussed this topic in the context of the Met Opera's "HD" streaming.
We've spoken to plenty of boards, many of whom were uniformly reluctant to spend more or reallocate resources to video. However, all of them were also open to providing necessary support should the proper case be made. We have brought quite a few boards onto the right side of the fence, and if you would like our assistance, you can email us at inquiries [at] tendu [dot] tv.
Presenters, agents and other stakeholders have to watch tons of video. What is going to be their first reaction when they get to yours.
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Everything you say about this is very true. But there are also a lot of factors that complicate the transmission issues though. Even if you shoot everything in 1080p everyone from film festivals to presenters and agents ask for a NTSC DVD. If you send them a Blu Ray disc or even the digital files they’ll ask for an SD DVD because that’s all they can play. In my experience, very seldom are other organizations setup to use your HD video. But what you say about shooting in SD as being a waste is still true. There is no sense shooting something that is guaranteed to be worthless in 2 years. In that time my HD footage will useable at full resolution.
HD is the way to go, but the Red is too expensive. Dance companies can rent an HVX200 package for 250 a day or less. Here’s some dance I shot on that camera:
http://vimeo.com/4313324
http://vimeo.com/1194285
this article is so fantastically stupid it’s hard to know where to start! As Mr Custer so eloquently explains there is, as yet, no reliable consumer medium for actually distributing HD content on disc. No disc version, epic fail. Also, online HD formats are not, not even close, to being full bore HD.
Perhaps you may want to begin with an assessment of your reading comprehension skills?
In the above, I referenced a previous post where I discussed exactly the point you made: that online HD codecs aren’t true HD, and aren’t even close. In fact, our corporate position is that it is severely problematic that consumers are being told that video is HD based solely on the aspect ratio of the image, and not the bitrate and image quality.
Also, Caleb’s point wasn’t that there is no reliable consumer disc medium for distributing HD content (you might want to google Blu-Ray) His point was that festival organizers are simply behind the times, and many can only view materials shipped standard DVD and VHS (if you’re a dance company submitting on VHS… you should feel deep, deep shame, btw). Ergo – it’s not a distribution issue, it’s a recipient issue that is specific to many festivals and presenters, and one that he does not expect to continue into the future.
Clarify one more thing. Are you actually saying that companies shouldn’t shoot in HD?
the relative costs of shooting in HD, compared to more established shops using SD or down resed HD, are prohibitive to the vast majority of dance companies.
video production companies have large overhead in upgrading equipment, said equipment has to be upgraded, customers ultimately pay for said upgrade and the benefit to them is minimal because they cannot deliver that content in HD.
blu-ray is great, but authoring blu-ray is neither easy nor cheap and disc reproduction is expensive and blu-ray uptake in general is tiny compared to SD products. so yes, it is a distribution issue.
in your graphic you use a Red One camera to illustrate new technology. Sure, lets get all dance companies using $40,000 rigs to shoot video, that would be fantastic. But who’s going to pay for it? You? Sponsors? the NEA?
A good shooter with SD gear will wipe the floor with a HD operator using HD for effect (and don’t underestimate the number of tech geeks in the film/video world who use lots of gear just for the effect). This is especially true when the vast majority of delivery is done via the internet or SD DVD.
Your expectations are unrealistic, as well intentioned as they may well be!
Hardly unrealistic, given our experience. Out of curiosity, do you happen to be affiliated with a production company that lacks HD capability?
In response:
1.) HD is not as cost prohibitive as assume. We’ve been able to get quite a few companies to upgrade from SD to HD production recently, with minimal incremental cost. We’ve presented to many dance company boards on the importance and benefits of increasing their budgets to cover HD, with a very high success ratio. In fact, I would also venture to say that small and large companies are more likely to be shooting in HD today, with midsize companies tending to lag behind.
We are frequently asked for production company referrals. We have yet to find ourselves in a situation where a company has not been able to afford proceeding in HD. We do not make referrals to companies without HD capability.
2.) The benefits in shooting HD are not just limited to delivery. There are significant copyright protection implications as well. Also, even if initially the company has to downconvert, the quality is still superior, with the upside of long term benefits.
It is poor strategic planning to assume that the distribution opportunities available will be the same tomorrow as they are today. We have several existing and future partners that are or will soon be able to distribute HD content.
3.) Yes, the craftsman is certainly more important than the tools, and HD without capable operators is useless, as is any filmed material. A poor shooter is a poor shooter, and there are plenty to go around in the dance world, regardless of the medium being used. We even have some examples within our licensed content of shooters who frankly have no business being behind a camera.
4.) Specific to the Red One, we’ve got 3 projects coming in that were shot on the Red platform, all of which are from small companies or independent “emerging” artists.
Just to acknowledge a deletion of your last response. It’s not too much to ask for a scant bit of civility. There are enough crazies posting responses to blogs and message boards. My guess is that my assumption about your affiliation hit close to home.
However, to respond to specific points, with your comments in quotes:
“I’ve found 16 videos on this site all of which are, to be frank, a bit crap? and might as well have been shot on an iPhone.”
We have been working very closely with companies to improve the quality of their video. The quality of some of the videos that exist does leave something to be desired. You will see a steady and gradual improvement over the coming months. Some of the content that is currently posted was used to check what happens to video of varying qualities when put through the digital meat grinder. Some failed that test.
In a few cases, the partners did not have the higher quality versions available at the time, and we will be bringing in new masters for those pieces.
“I could find you on no list of channels for cable providers (comcast, cox, time warner, etc)”
We do not believe that cable distribution is a requirement, nor necessary at this juncture to execute our mission.
“Put up or shut up mate!”
Gladly.
Hang on a minute, you delete the comment but then you quote it, that makes no sense and it was perfectly civil.
also, you’re own “about” material says you are getting material to 20 million “us televisions”. if your not using cable tv/satellite distribution then just how do plan on achieving that?
I think we can reach up to 30 million, actually. For starters:
http://www.roku.com/
http://www.tivo.com/whatistivo/tivois/index.html
http://www.lge.com/us/tv-audio-video/video/index.jsp
http://www2.panasonic.com/consumer-electronics/shop/Televisions.75002_11002_7000000000000005702
Of course, not all content will be delivered through platforms that can reach these devices. Our current and future partners are quite varied in their capabilities and content requirements, and part of our challenge is to make sure we pair content with its most efficient means of distribution.
This shouldn’t even be a debate. Shoot in HD - period. I would say that it’s the future, but I’d be wrong. It is now the standard. SD (standard definition) is now a misnomer as it’s not standard anymore. If you’re still shooting in SD (it’s 2010 people), you’re wasting money, running a conjob, or both.
Live performing arts companies should use the tools and resources they have to make the most of what they offer.
Yes, HD, especially the production process, is accessible and relatively affordable. However, I do agree with the essence of a previous commentator, that putting a thumbnail of a RED camera is not appropriate for the majority of dance companies. Most dance companies do not have access or even the need for this level (RED) of production. Plus there are plenty of more realistic camera pictures that represent a more likely process, cameras like the Sony EX-1,3, or Panasonic HVX200 or HPX170, etc…
On the post-production end it can be a bewildering and costly process to finish an HD project. And if the targeted recipient(s) of the video, can’t handle HD then how helpful is that. Hopefully, the dance company did an honest cost-benefit analysis prior to starting any production process.
It is about the dance, play, or music.
If you take online view numbers as a barometer of what people watch, it goes back to a compelling story. With the exception of production professionals, viewers are not saying “boy I like that video because it was shot on D5-MKII or the Red Epic chip.”
A standard definition video that is well crafted is better than a high definition video that is soft and shaky.
Shoot HD if you can do it and afford it, but don’t let the guilt of not having access to HD keep you from producing something.