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Contents

  1. Digital Video and Media Production Program
  2. Navigation menu
  3. Digital Media Production
  4. Digital Media Production | Emerson College

For the BFA, a minimum of 54 credits, at least three credits from each category below. Posted on October 15, A. Posted on A.

Digital Video and Media Production Program

Posted on October 1, A. The Art of Digital Video has served as the ultimate reference guide for those working with digital video for generations. Now this classic has been revised and re-written by international consultant and industry leader John Watkinson to include important technical updates on this ever-evolving topic. The format has also been improved to include optional sections that provide additional information that you can choose to skip or investigate further, depending on your interests and comfort level with the subject.

As the worlds of film, digital imaging, and computing have converged, this book has evolved to remain current and relevant, while still remaining the classic that experts in the field have trusted for years. Purchase the book. We use cookies to help provide and enhance our service and tailor content and ads. The traditional gallery system also supports its artists through administration — taking care of sales, paperwork, promotion, shipping logistics and press communication. These services can only exist with a regular flow of sales of unique or editioned works with a high price point.

In theory, an artist might decide to make one work for a gallery and another work for mass distribution.

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Each copy is simultaneously as original and not-original as all the others. At the present moment, an artist who creates works in mass media has the option to either make work available through a gallery or to publish the work for free and open online access. If the platforms do evolve and a collector base is nurtured, is it even possible for an artist to work in both ways? Can an artist succeed at playing the gallery game and making work that is financially accessible for a wider audience?

Can an artist avoid galleries entirely, make only digital mass-media work, and still support themselves?


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The social and emotional shift required for people to start collecting digital art, as they do music, feels like the difficult part, while the technical aspect is now possible. At its most simple, a blockchain is a list. The blockchain innovation is the way the transactions are verified so they are confirmed to be accurate. A blockchain is open for anyone to read and it is distributed so everyone can access the data.

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Further, a blockchain can record loans and a history of sales transactions for a work. As an example, an artist might decide to release a digital photograph to be collected. This photo can be a unique work or an edition of any number. The process starts by entering data about the work: title, medium, size, year, edition size, etc.


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  • This data, as well as a unique distillation of the photograph file is recorded into the blockchain. At this point, a record of the photo exists as a piece of property that can be transferred. If the decision is made to release an edition of ten, there are ten unique pieces of property. If a decision is made to release an edition of , there are unique pieces of property. As the creator, the artist can then transfer the ownership to someone as a gift or can transfer the ownership to someone who buys it. Once the change in ownership is recorded into the blockchain, the new owner has all of the rights to sell it, loan it, etc.


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    • Modalities;
    • A blockchain is unrelated to copy protection or digital rights management DRM. For example, if someone sells a digital photograph and that transfer of ownership is recorded into a blockchain, the original owner loses her rights to ownership, but she can keep a copy of the file.

      There are ways to change this, but that is separate from the blockchain. The new owner can do whatever she wants with the file, including the decision to copy it as many times as she wants and to distribute those copies. The people who have these copies are not the owners of the work. This is a new kind of possession that requires a shift in ideas. One way to think about it is similar to how copyright works.

      Imagine a poem that is under copyright. Anyone might gain access to the poem in a book at the library or through the internet, but only the owner has the right to grant distribution, among other things.

      Digital Media Production

      There are two broad ways that collecting digital media might develop. One direction mirrors the existing art world through selling unique or exclusive things. This is the traditional, conservative model where a digital media file is sold as a unique artwork or as a small edition. This could be selling unique digital artifacts for a high price or an edition of a few hundred.

      Digital Media Production | Emerson College

      This thinking is preceded by markets for printed work on the high end including lithographs and etchings in editions that make them more affordable than unique paintings and drawings. Numerous examples of this model for selling digital media are under development by individual artists and by venture-capital-funded initiatives.

      It might broaden the possibility for more people to collect art, specifically digital art, but it remains exclusive. This is only possible with digital media because of the absence of an original and the condition that all copies appear to be identical.

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