Early in the process of writing this second edition, I happened to run into a former student who was preparing to go into production on his first feature film. When he elaborated on the project, the very first thing he told me, quite excitedly, was that he was shooting on a RED ONE camera at 24p and 4K resolution and that the latest version of Final Cut Pro supported the REDCODE RAW codec without transcoding, and so on and so on. It took some time for the conversation to get around to the actual story and ideas in the film.
This is not an unusual conversation these days. I have seen countless students labor so mightily over the mysteries of production formats, transcoding, compression ratios, workflows, ...
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