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    #31
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    I agree completely about the wrong style of production for a premium brand like Rolls. I'd love to hear what they are thinking. Probably specified by some dumb ass that doesn't know anything about branding or marketing.


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    #32
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    Maybe they're still envious of former (?) siblings Bentley and that 2015 advert/promo that was shot on an iPhone (and a whole lot of other kit and a top crew)?

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    Jim Feeley
    POV Media


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    #33
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    Quote Originally Posted by Doug Jensen View Post
    Why do you suppse they would specifiy an iPhone? I can see a client specifying a certain type of camera, or a specific high-end model of camera, but why would a client specifically request a low-end, non-traditional device for shooting professional video? If someone offered to provide a Venice or Alexa at the same price, they wouldn't get hired? If it is a certain "look" they are after, then why does it have to be an iPhone. Can't a Samsung phone achieve the same look? I don't get it.
    The scripts said iPhone, but what they meant was 'user-generated.' This job was through an agency who specialize in recruitment advertising. The scripts didn't scream user-generated to me, just seemed silly, which is while I told them to jog on.
    New Website: www.liamhall.net
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    #34
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    Quote Originally Posted by theraptor56 View Post
    I see lots of ads from social media experts claiming that more polished video doesn't do as well on social media channels because it can look too professional. The thinking is if a company wants their content to blend in with what social media users are seeing on their devices it should be shot using the same devices everyone else is using. I imagine that's what Rolls Royce was going for with this request. Seeing a brand like that go for that line of thinking is a bit surprising though. If any brand shouldn't be lowering themselves to the lowest common denominator I think it'd be Rolls Royce.
    Most of my clients want their work to stand-out on social media platforms, not to blend-in. User-generated has its place, these scripts weren't that place though.
    New Website: www.liamhall.net
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    #35
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    Quote Originally Posted by Liam Hall View Post
    . . . which is while I told them to jog on.
    I would have done the same.


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    #36
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    Send them to me then. I’ll shoot it on 1.44mb floppies with a Sony Mavic if it’ll get me out of debt quicker
    Pudgy bearded camera guy
    http://mcbob.tv


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    #37
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    I don't think anyone should pick a raw cinema camera like a Red over more common video camera alternatives for general commercial work unless you have a serious artistic interest in the aesthetic range and flexibility working with deep raw formats offers. There are advantages, but the workflow and learning curve can be demanding. They are not necessarily friendly to quick turnaround short production schedules and small budgets.
    Log video and raw lite options like Canon, Sony, Panasonic, and BM offer are something of a middle path that is easier to learn for the novice looking for more aesthetic flexibility. But for most low end commercial work, shooting standard video codecs and paying attention to what is in front of the lens in terms of lighting and production values is still the better path.
    Let your market and your clients drive an appropriate choice.
    Last edited by Razz16mm; 11-02-2019 at 11:17 AM.


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    #38
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    Quote Originally Posted by Jim Feeley View Post
    Maybe they're still envious of former (?) siblings Bentley and that 2015 advert/promo that was shot on an iPhone (and a whole lot of other kit and a top crew)?

    This was a stunt as this "special " addition Bentley came with a MacBook Pro set into the passenger seat tray table.. and so I imagine Apple insisted on getting maximum PR value.. they spent a fortune in post to get it looking like it did..


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    #39
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    Quote Originally Posted by Razz16mm View Post
    I don't think anyone should pick a raw cinema camera like a Red over more common video camera alternatives for general commercial work unless you have a serious artistic interest in the aesthetic range and flexibility working with deep raw formats offers. There are advantages, but the workflow and learning curve can be demanding. They are not necessarily friendly to quick turnaround short production schedules and small budgets.
    Log video and raw lite options like Canon, Sony, Panasonic, and BM offer are something of a middle path that is easier to learn for the novice looking for more aesthetic flexibility. But for most low end commercial work, shooting standard video codecs and paying attention to what is in front of the lens in terms of lighting and production values is still the better path.
    Let your market and your clients drive an appropriate choice.
    ^ Exactly this. Well said.


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