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REPURPOSING CONTENT
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Marketing departments are all creating slogans for reusing content: Anycasting (Sony); Create Once, Publish Anywhere (Avid);
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CHAPTER SIX
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Make, Manage, and Move Media (Avid again); Publish Anything, Anywhere, on Any Device (Adobe); Adobe Everywhere You Look (Adobe again); Create Once Use Everywhere (Discreet); Multi-Mastering (Discreet again); No Limits (FAST Multimedia); New Media, New Formats, New Economies (Quantel); and Media Without Bounds (Grass Valley Group) are all examples of promoting the concept of distributing in a variety of formats while using the same essence media and metadata Repurposing content has recently become the buzz phrase, but the concept has been utilized and has evolved over decades Twenty-five years ago corporate video communicators understood the cost-effectiveness of reusing previously shot or edited videotapes Using storage-area networks and the ability to use digital content in a variety of ways (eg, cinema, video broadcasts, interactive games, and/or programming including product promotions, music videos, Web pages, video-on-demand, VHS/ DVD, etc), producers are eager to maximize the profit potential for their content Existing technology is making this much easier, with metadata descriptions, media-exchange standards for content reuse using a variety of software and computer platforms, better media asset management, and easy access to the original content on workgroup-capable media servers or archived nearline storage Of course, the ability to work with the highest quality sound and image files also facilitates repurposing the source footage afterwards; it is easier to go from cinema-quality images to streamed video than it is to go the other way around One concern in repurposing content is the need to change aspect ratios for cinematic distribution, wide-screen video delivery, standard 4:3 aspect-ratio television, and a variety of aspect ratios that can be used with Web page frames or interactive programming Let s assume that the image quality allows for modifying aspect ratios (If the image quality has to be enlarged and cropped to provide for a different aspect ratio, the image quality may degrade rapidly as the image is enlarged) If you start with a very-high-resolution image (eg, widescreen digital cinema) you can crop the image with little or no noticeable loss in image quality
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One function required for adjusting aspect ratios is pan and scan, the ability to pan a wide-screen image in a 4:3 window Generally producers want the time to remain constant for both normal and wide-aspect ratio programming One problem is that a person entering a field of view does so sooner on a wide screen than on a centered 4:3 screen You must select and then move the narrowed field of view to accommodate this You may also need to make cuts in the 4:3 program to accommodate dialog between characters who may not be visible together in this narrow aspect ratio, but are visible on a widescreen aspect ratio
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There are rules on editing composition and changing planes of view There are concepts taught concerning the selection of clips from high- and low-camera positions (and the implications in doing so), and the purposes of selecting different camera angles to incorporate into the program (from establishing wide angles to extreme close ups) The two most significant rules however, are that all these rules were created with the knowledge that they can be broken and that ultimately, creativity is what truly rules!
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DIGITAL RECORDING
JOHN RICE
hat do George Lucas, Spike Lee, Harry Shearer and Mike Figgis have in common They have each created a feature film using digital recording But, each of these filmmakers has used different, and essentially incompatible digital videotape formats The buzz that has become digital is confusing Whereas Lucas garnered headlines in trade magazines and The New York Times for shooting Episode II of Star Wars with high definition 24P, Spike Lee has released two films one shot using DVCAM, and another shot with consumer digital video (DV) Figgis used DVCAM for Timecode and Shearer shot in 720P All digital is not alike There was a time, not all that long ago, when the idea of using digital videotape meant, unequivocally, the highest possible quality, and most often a high price tag But as digital technology expands and excels, there are now myriad choices that fall under the banner of digital And we are not only talking about videotape here Digital signals are being stored on servers for broadcast; on hard drives for editing; and will soon be available on disks for shooting editing and distribution for professional and broadcast signals for acquisition, postproduction, and distribution Digital videotape, once the exclusive domain of the highend, high-budget production, has now become the mainstream,
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