An Introduction to High Definition.

What is HD?

Hi Definition (HD) is not film. HD is a new tool in the palette available to Cinematographers.

Hi Definition is the closest digital format to film we have at the moment. The format delivers 1125 by 1920 pixels per line (active pixels of 1080 vertical by 1920 horizontal pixels.) That's about 2.2 million pixels!

Its CIF (Common Image Format) means when you digitise your footage the pixels match the computer’s pixels perfectly.

HD is a mirror of 35mm film in a digital domain.

HD is a digital tape based format with a very high resolution.

HD maintains its quality like 35mm film throughout cross conversion to film or down conversion to PAL, NTSC, SECAM or DVD.

Why shoot on HD?

• If 35mm film cannot be afforded, but a future proof, high quality worldwide distribution release to different formats and big screen is required.
• HD has a 16-point colour wheel (Matrix) to be used for manipulating independent colours i.e. R G B and C M Y.
• With HD it is possible to store scene files for future use.

Other benefits of shooting on HD:

• Near immediate rushes clearance with HD, leading to increased efficiency. (Striking sets sooner, releasing cast etc.)
• Cost savings on film stock and telecine tape transfers.
• What you see on the HD monitor is what you get.

Possibility of off-lining on set.

• Improved future proofing of material. HD needs less infra structure to be stored than film.
• Less stock volume and weight.

More info on HD:

• Hi Definition is the closest digital format to film that we have at the moment.
• The format delivers 1125 by 1920 pixels per line (active pixels 1080 vertical by 1920 horizontal). That’s about 2.2 million pixels! It is CIF (common image format) this means that when you digitise your footage the pixels match the computer pixels perfectly.
• Before you shoot you will have to make the frame rate decision, the Sony HDW 900 camera is able to shoot at 24P, 25P 30P 50i and 60i.
• This means 24P is almost the same as shooting 24-frames/sec films so motion judder will visually look the same. This is the same for 25P.
• 30P is a better progressive rate for shooting in 60Hz environments.
• 50i is 25 fps interlaced (same as PAL) and 60i is 30fps (same as NTSC).
• 24P is designed to match digital to film transferring.
• Highlight handling is not as dynamic as film, but it is possible to achieve about 5 stops.
• This enables filmmakers to shoot on digital and have instant play back and make more precise decisions on location.
• The stock costs will be significantly cheaper than film stock when compared to 35mm. The HDTV tape format is the same as Digital Betacam or SP in that it is a half-inch metal particle tape.
• When shooting 60i the tape duration will be +/- 40 min on a 40 min tape. When shooting 24P duration will be 50 min.
• The advantages of HDCAM are that it's a worldwide distribution format. One of the major advantages of HDTV is the fact that you are future proofing your Post Production with a longer shelf life than SDTV format.

Things to be aware of:

• At this time there are HDTV post-production houses in the USA, Europe and Japan. South Africa is gearing towards HD post.
• There is no doubt that there will be more in the next 2 to 5 years.
• Lens quality is important, there are various zooms and primes available made by Canon and Fujinon.
• We have looked at the Fujinon primes and they are beautiful "pin sharp and very fast at T1.5". It is possible to use film lenses with the correct adapters, but great care must be taken and tests shot in pre-production.
• When shooting in a 50Hz environments (PAL countries) and filming 60i or vice versa, look out for "beat". Use the shutter to match the Hz.
• The HDTV cameras has a 16:9 (1:177) aspect ratio only.
• When shooting a drama for television and distribution is for a PAL country, you need to decide whether you want a Film look (progressive judder) or if you want a video look (smooth interlaced).
• If you shoot 25P for television or 50i the resolution will be identical but the motion will be different.

Off-line

• You transfer your 25P or 50i to PAL Digital Betacam or DVCam so that you are able to do an off-line with the editor you have been working with in the past.
• Once you have done your off-line you will need to decide on your on-line route. It is possible to digitise your footage directly into a non-linear edit suit using the SONY HDW F-500 HD VTR.
• When you shoot 25 PsF or 50i the HDW F-500 with a HKDV 501a board the VTR will down convert to 625/50i PAL and output in SDI form.
• If you shoot 60i or 30 PsF (DF) then the signal will come out in NTSC 525/60i SDI.

On-line

• On-line can be done using the transferred Digital Betacam or DVCam (for standard definition transmission) or go to on-line with the HD tapes at an HD facility.
• The format is not unlike film in that it's an acquisition format and needs to be transferred for final transmission or transferred to 35mm film for Cinema Release.

Grade

A tape-based grade can be done, which is real time and allows all elements to be manipulated.

Audio

Your audio will be the same procedure as it has always been on film or video. There are numerous ways to shoot and edit HD for film, PAL or NTSC.

For the DOP:

• But it doesn't look like film, here is a surprise...it's not film! HD’s Dynamic Range, Latitude and highlight handling differs from film.
• This technology needs to be embraced and used to its best ability. There are numerous ways to achieve fantastic "looks" on Digital Tape be it Hi Definition, Digital Betacam or DVCAM.
• You cannot do with a film camera and film stock what you can with Digital tape based cameras. They both have a long future in the industry and they both have applications of their own.
• The Sony DVW 700 / 790 / F900 has a full processing lab built in! Any camera operator who has a bit of time and understanding of the menu can paint the image on location to bring out the best in the story, this is a very powerful tool and it's instantly available.
• DOP's can use the camera paint tool to add value to post production by gaining more shadow detail or not...or enhance parts of the colour spectrum instantly on location with the relevant subject matter, this gives total control to the DOP.
• HD and film needs to be thought of as Oil paint vs. Water Paint vs. Air Brush. We can’t rule out one or the other, they all have applications and aesthetic appeal of their own.
• This is the same for Digital vs. film they too have an application that can add value to a production when used creatively.
• Film Set-Up cards from Sony are not designed to give you exactly the same look as the stock, but rather to make the camera respond in the same way as the stock does.
• Options are diverse: no shadow detail or lots of it, or a big mid range "Gamma" with no detail in the blacks or lots of shadow detail with nothing in the mid range "2 stop latitude".
• Any stock is available in Digital filming, no loading of magazines no extra expense. What Digital stock do you want to shoot today? Ektachrome Reversal 25 ASA, 600 ASA. Do you want a red bias or lose some green or add some magenta...What would bring the most out of your story?
• By embracing this new technology DOP’s add to their existing skills and increase their ability to communicate to their audience.

Visuals Group Technical Department.