We’ll make a movie, you’ll play the staring role
and I’ll direct you on where to go
We’ll make a movie, up & down and roun’ & roun’
baby just you follow I’ll show you what to do
Before the advent of digital content production, files were limited to dog-eared manila folders filled with copious production notes. And long before videotape, everything was about film, and many of the same workflows remained in place.
Enter digital workflows.
Actually, digitizing the content value chain has started at different points, depending upon the media type. Print was a direct function of the desktop capabilities resulting from the mac platform and the Apple Laserwriter. It was not until later that print facilities moved from film to ‘direct to plate’, or on-demand printing. Radio focused on automating the play out facility, leveraging digital audio files to files integrated with playlist management. Studios digitized their raw film footage, and enhanced the available digital video desktop technologies for editing, and edited the content before mastering back to film. Today, they have moved to capturing digitally, and now distributing to digitally enabled cinemas. What a good colleague of mine calls “Glass to Glass. Forever”. More on that in a subsequent blog.
But the behaviors of content creation have really changed beyond just folks working out how to manage digital content files and integrate them into their current business workflows.
Consider the following.
The economics of a film shoot was centered originally on the cost of the film (the celluloid) itself. In the early days, cameras, film and subsequent processing were more expensive than actors’ time – at least when actors were owned by the studios. At that time, the practice of a clapboard was instantiated, as was the stereotypical “action”. The emphasis was on minimizing the wastage of film. The camera was already a sunk cost. Consumers demanded more interesting perspectives, and eventually cameras and film became more affordable, and so multi-camera shoots prevailed.
When Videotape came along, the clapper’s role was less focused on saving film (or videotape), but more on ensuring the documentation of scenes for subsequent editing. Tape was cheap, make more shots, keep doing it again and again because ‘video’ actors were generally paid less than ‘film’ actors. Film still held premium production qualities that audiences craved but by the 80’s video was ‘best’ for TV.
Then a funny thing happened on the way to digital cameras… with the introduction of 2K/4K cameras that rivaled film quality, finally the clapper truly became a mechanism for scene/take separation. In fact, anecdotally, I have heard that due to the relative low-cost of digital compared to actors and production, the camera in many instances was just left running. This practice captures ‘behind the scenes’ content, notes, exchanges between actors, directors, writers and bloopers etc. This content used to end up on the cutting room floor, now it can be valuable extra content on a DVD or a Blue-ray.
Economics driven by technology has changed the behavior of how stuff is made. Apart from the time used to plan content and shoots, the time to turn around rushes has shrunk along with the behaviors, which have become the typical unintended consequences.
Now managing that digital content from glass (at the camera) to glass (at the consumer device) faces another problem… how do we handle, tag and forever secure this content? Not very well I’d say.
Tell me it isn’t so… I’m listening.