Right now there are 2.7 billion active smartphones in the world. An estimated 800 million were added this year alone. By 2020, Ericsson predicts there will be at least 6.1 billion smartphone subscriptions globally. What’s the big deal? Well, this means 38% of the world’s population has the ability to shoot digital video and stills.
That is not very good news for us as content providers.
The way I see it is that we need to diversify our professional skills, learn as much as we can, learn how to edit, how to grade, how to record better sound, and how to tell more engaging stories. In an ever-changing marketplace, the more you know the safer you are.
Smartphones aren’t the only problem though. The average price of professional editing software went down from $1,300 to $299 in the past 10 years, and this is an average that includes high-end apps like Avid ($1,300) and excellent software applications like Blackmagic’s DaVinci Resolve, which “Lite” version is completely free.
The cost of a cinema-quality camera tumbled from $200,000 in 2001 to $1,000 today.
Photography and film students with current DSLRs have way more resolution and features than any $200,000 camera from 10 years ago. This is incredible!
Before I started shooting 4K I didn’t really know what all the fuss was about. Then I put this chart together. For some of you this might be pretty obvious, but it can’t hurt to check it out.
Is upgrading from full HD to 4K worth it? You would think this would be one of the main questions I encounter, but at the past NAB—just eight months or so ago—I was absolutely shocked to find out that many companies, mostly broadcast stations, are still shooting SD and that they are only now considering making the jump straight into 4K. That’s a pretty big jump, but for some of them it can make a lot of sense.
Should you do it? It depends. Think 35mm digital cameras vs. medium format digital backs. Phase One vs. Canon or Hasselblad vs. Nikon. Most advantages and disadvantages regarding sensor sizes, file sizes, shooting speeds, portability, and especially storage and post-production challenges apply. Except for price. For $2,500 we can now capture 4K RAW or almost literally in the dark. For $1,500 we can record HD slow-mo or 4K internally. And for $500 we can shoot 4K anywhere.
These systems are so inexpensive that they sometimes become a double-edged sword. Their sizes and prices transform them into accessible toys. And that’s where the problems start. Higher resolution often demands new workflow requirements.
In RAW form, a 2.5-hour movie shot in 4K at 24fps contains 216,000 frames. The resulting file is approximately 5.6 terabytes of data. That’s ONE camera, BEFORE back ups. But who really shoots that way? Well, David Fincher shot 500 hours of 6K RAW with multiple RED Dragon cameras for his latest movie “Gone Girl.” The end result was 315 terabytes of footage. How do you manage that? What’s the cost to store all that data? For how long can you keep it in its existing format and location?
We increasingly have access to very powerful and generally cheaper tools. But tools are just that. When to choose one over another and, most importantly, why it should be chosen are the real questions.
Eduardo Angel is an independent Technology Consultant, Educator, and Visual Storyteller based in Brooklyn, NY. He currently teaches at The School of Visual Arts and the International Center of Photography, and mentors the photography program at the Savannah College of Art and Design.
He is a co-founder of the idea production company The Digital Distillery, author of popular filmmaking courses on Lynda.com, and regularly shares his thoughts on technology, photography, and cinema on his website eduardoangel.com.