The present and future of post production business and technology | Philip Hodgetts

CAT | The Technology of Production

Yesterday my friend Michael Kammes tweeted:

The *real* reason cameras need higher resolution at a lower price point is so “Caught on Camera” type shows have tolerable video.

However it made me think that the real reason we have so many high resolution cameras as cameras, or as cell phones, is that there will never again be a visual gap in a documentary!


At the recent Hollywood Post Alliance Retreat, the panel ‘Professional Forecast: Cloudy but Clearing’ strongly supported the idea of capturing metadata (log notes) at the time of acquisition. This is exactly our goal with Lumberjack. (more…)

Terry and I got together at NAB 2013 and recorded our impressions of the show in the Press room.

The Hollywood Post Alliance Tech Retreat was, once again, held in Indian Wells, CA. Terence and Philip both attended this year’s retreat and recorded this show immediately after the welcome dinner, Wednesday night.

They discuss the topics from the HPA Tech Retreat, and go off on a few tangents.

Broadcast Engineers has an article For broadcasters, the name of the game is efficiency which really comes as no surprise:

Finding new and better ways of improving staff productivity and support new and existing distribution channels is key for broadcasters looking to successfully navigate the ever changing competitive landscape and remain relevant in today’s multichannel universe.


Broadcast Engineering magazine thinks that the global market for 4K and beyond – ultra HD – will remain small into the foreseeable future. (more…)

For a number of reasons Multicam has been a topic of conversation around our house. During the discussion today, I realized that it was a fairly serious trend that I don’t recall covering in my look back, nor on the Terence and Philip Show’s 2013 predictions. (more…)

I have a strong interest – personally and professionally – to want to automate the boring parts of post-production away from humans to computers, extending to some of the basic string-outs. This seems to infringe on the “human” role in postproduction, at least according to some of my associates. Well, lately I’ve come across a whole range of stories on how traditionally human roles, like doctors (and assistant editors), can or will be automated out of existence. That’s led me to think about what is the essential role of the human that can’t be automated? It’s not a simple question. (more…)

2012 has been one of the most interesting years I’ve had in a long time. The year started with the release of 7toX for Final Cut Pro followed by Sync-N-Link X to mark our fourth piece of Final Cut Pro X software. Then came the intense planning for the Solar Odyssey journey and production, followed by the disappointing reality that it descended into. Fortunately a lot of good has come out of the experience. It’s also been a year where the maturing of Final Cut Pro X has won over more people, and the consensus is favoring big sensors. Terry Curren and I took a look back on the trends of 2012 and Larry Jordan also did a good take on the trends on his blog. This is much more my subjective take on my year.


I recall seeing the first of the training films from John Cleese’s then company, Video Arts and realizing that they were a cut above what I’d come to understand as “training” videos. High production values, great writing and amazing talent. John Cleese and the founding partners sold out decades ago, but current CEO Martin Addison spoke with  about how the role of video has changed since Video Arts launched thirty years ago.

Addison says, “The role of video has changed. When we began it was very much a specialist market and the cost of entry of having a film camera was very high.  That’s changed completely now.  All of us have the potential to be filmmakers with a camera that we have in our pocket on our smartphone.”

Or, in other words, democratization has occurred and video is just another literacy.

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