You may not know this but Pixelwork's DNA is actually film and photography. Throughout the 90's Lucy and I were travelling the globe shooting video and taking photos of everything from great white sharks in South Africa to WWII wrecks at Bikini Atoll in the Pacific. Our photos were published all over the world and our underwater footage used on TV for broadcast.
At the time we were shooting on 35mm SLR's and 16 or 8mm film cameras.
Throughout the noughties we saw the rise of digital photography and whilst digital SLR's quickly surpassed our trusty old Nikon F4's, video just didn't seem to be able to get up to speed. Cameras had fixed lenses or else were prohibitively expensive and cumbersome, and of course resolution was limited to a disappointing SD. So instead we steered Pixelwork deep into the world of code, graphic design and multimedia development.
But times, once again, are changing.
It's literally only been in the past 12 months that we now have video cameras that truly are as good as (or better) than the cameras we were originally shooting on. A few months ago we took ownership of a Sony FS7. This camera really is a game changer - it gives us the flexibility to change lenses (like a DSLR), has the form factor of a "proper" shoulder mounted documentary camera (like an old school 16mm cinema verité camera ), is robust enough for professional use but most importantly creates an image that is out of this world (and arguably up there with the significantly more expensive and Hollywood favourites Red Dragon or Arri Alexa).
This camera has literally changed the way we're looking at the evolution of our business.
But it's not just the cameras, it's the rigs and technology around them that is also changing the face of the industry, from gimbal rigs like the Ronin for stabilising footage to sliders and of course drones like the DJI Inspire for incredible aerial shots. Now there is absolutely no excuse not to be able to create really stunning imagery and productions that look like a million dollars, but for significantly less than that. We used to call it video but really if you look at the footage from the likes of the FS7 the word "video" just seems to demean the level of filmic level of imagery this equipment can produce.
And when it comes to polishing that footage the software tools that we have access to now are simply incredible - who'd have thought you'd be able to get a high end colour grading piece of software like Resolve for FREE. Or the Adobe suite for £35 a month ?
Over the years we've paid £,000's for software and now we have access to an amazing set of tools for less than the cost of a decent meal. It's literally staggering.
You can probably tell we're really excited with the way technology is headed - of course we know we're now deeply entrenched in a game of having the very latest tech where today's Sony FS7 will be tomorrows Nikon F4 but in the meantime we're having a hell of time creating some really great content for our clients ...and ourselves.