The use of Graphik is acceptable in cases where the Client cannot supply their own typeface.
A: No, since ProRes codec is built to be variable, this is waived.
A: Yes, we can accept bitrate beyond the recommended range for H.264 and ProRes. In the case of ProRes, bitrate will often exceed 30 Mbps due to its variable setting.
If the tagline/date messaging doesn’t fit within the 11 syllables max, it can be included as text.
Q: When is letterboxing allowed and not allowed?
Q: What does native frame rate mean?
What does the future of personalization look like?
Q: Why do you ask for progressive?
Q: Why do you prefer PCM codec?
A: PCM codec is lossless audio quality, so whenever possible, please deliver PCM audio.
Do you think it is possible for a streaming service to become that “restaurant” - a trusted source of serendipitous recommendations?
Gadi: I absolutely do. But it is difficult. It’s a long game. It requires them to build trustworthiness with audiences through genuine content recommendations over the years.
Do you think it is possible for a streaming service to become that “restaurant” -- a trusted source of serendipitous recommendations?
Gandi: I absolutely do. But it is difficult. It’s a long game. It requires them to build trustworthiness with audiences through genuine content recommendations over the years.
Julie: One of the things we found with Gen Z is that they really want to be immersed in something for a long time. They want to have content that they can live with for a while; it’s like this long, seamless storytelling. They’ll knock off a couple episodes a night and it will last a couple of months. And then they’ll re-watch it a million times over.
What other shifts have you seen happen-with Gen Z but also more broadly-with the rise of streaming?
Julie: For years, television had to deliver a specific rating. Shows had to appeal broadly or else they wouldn’t survive. And those days are long gone because, with streaming services, shows can reach hundreds of thousands of people or tens of thousands of people and still be considered successful. There’s more experimentation with the types of content; we’re not locked into an hour, a half hour, a comedy, etc. The industry can create really niche shows to appeal to niche audiences, but also simultaneously create big, broad experiences that are shared by millions.
Larissa: I think for young people digital content is a way they’re able to explore their own identities through the story... They want to see themselves and their stories in the content that they’re engaging with.
Tell us a little more about this digital content as Gen Z’s form of self-reflection.
Larissa: Digital content is sort of like a currency. I find that young people want to watch things that their friends are watching so that they can have conversations about it. For example, with Euphoria, young people were just kind of in love with the characters. It was very timely and a bit provocative, and then there was a way that they could see themselves in these stories and connect with their friends about the topics and ideas in the show.
And then also they could almost embody these characters in their own life. I really do think that the TV shows that young people are buying into are actually influencing their culture and their trends and even their language that they’re using.