Don’t worry so much about resolution. It’s getting the picture right that matters!

It’s not about the number of pixels but how you use them.

More than Resolution

Do you remember those grainy video pictures of Neil Armstrong’s first steps on the moon? I do, which is an admission that at the very least reveals that I’m no longer a teenager.

And what was your reaction? (Or your parents’ or your grandparents’ reaction?) Was it “Those pictures are really fuzzy. I can’t watch them”? Or was it “Black and white? I’m turning over to watch a film”, or was it even “Those NASA guys could have graded that a bit better!”?

Of course not. My reaction was more like, to paraphrase: “OMG! OMG! OMG! You can see them on the Moon!”.

From today’s perspective, yes, those pictures were terrible, but you probably shouldn’t apply today’s standards to what is, effectively, pure history. What if we had video of the asteroid that wiped out the dinosaurs? Would we refuse to watch it unless it was in HDR 4K? No, of course not. Given that it would probably be the most important historical artifact in the history of anything, we’d probably be more than OK with it if it moved at one frame per second and looked like it was shot through ten feet of pondwater.

The moon pictures were sent back to Earth from a mission with less computing power than a gerbil and were, of course, analogue in every way. No wonder they lacked detail and were smeary. But in their own way, they were truly awesome.

Today, if Armstrong and Aldrin had taken the cheapest smartphone to the moon, they could have got pictures immeasurably better than the ones they took in 1969 (remember I’m talking about video here – not stills, which were very adequately catered for by the Hasselblad that NASA supplied to the astronauts). And if they’d taken a good camera – something like a Sony FS7, for example, then we’d have seen the most extraordinary video, ever.

RedShark News | Read the Full Article


What Can We Learn from the First and Final Frame of a Movie?

What can we learn by examining only the first and final shot of a film? This video plays the opening and closing shots of 55 films side-by-side. Some of the opening shots are strikingly similar to the final shots, while others are vastly different–both serving a purpose in communicating various themes. Some show progress, some show decline, and some are simply impactful images used to begin and end a film.

Click here for a full list of the films


How Studio Movie Posters are Created

Alex Griendling explains the process of how movie posters get made any why the system may be stifling creativity.

Movie Poster

Movie posters catch a lot of flak from the design community and the public at large. Without knowing the creative constraints, legal stipulations and work environments the posters are created in, it’s easy to pass judgment on the sub-par work we’re routinely fed. These cynical opinions are not without merit; the movie poster industry has been spinning its wheels in creative bankruptcy for some time now. My first job out of school was within the print department of a major (and sadly, now defunct) film-focused agency. I spent 2 years learning exactly why film posters have arrived at their sad state and I would like to pass along the information.

Process. The design of a movie poster starts 6 months to a year before the movie is released. There are extremes on both sides, of course; our agency worked on Cloudy with a Chance of Meatballs for nearly 2 years. Usually we’d be given the film’s script or shown clips that were representative of the final film. If we came into the process late enough, we’d watch the final film. While this is all good information to have, the most important aspects of most modern posters are stock images and unit photography.

Alex Likes Design | Read the Full Article

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