Common answers to common questions.

Table of Contents

1. Why shoot HDTV? Nobody I know has an HDTV.
2. What is the resolution of HDTV?
3. What kind of latitude can I expect from HDTV?
4. What can I expect from the colorimetry of the HD system? 
5. How sensitive is the HDCAM camera?
6. What is the aspect ratio of HDTV?
7. How do I protect for 4x3 and 16x9 aspect ratio?
8. What are some set design considerations?
9. How is makeup different?
10. What are my monitoring options? 
11. What kinds of signals interface with the HDCAM equipment?
12. What kind of shutter options do I have?
13. How do I light for HDTV?
14. How do the lenses compare in HDTV?
15. What are the focus and depth of field considerations?
16. How do filters react in the HD system? 
17. What is the audio quality like in HDCAM?
18. Does the HDCAM work well with cranes?
19. How well does HDCAM work with handheld shots?
20. What changes can I make in my crew with HD?
21. Where can I realistically expect to save money?
22. How does HD production affect my talent? 
23. How can HDCAM improve lessen my risk on speculative projects?
24. Why digital?
25. Can I get a film look with HDTV?
26. 24p? 1080i? What does it really mean to my production?
27. Why should I use HD instead of Digibeta?
28. How do you edit HDTV?
29. new question? 

Why shoot HDTV? Nobody I know has an HDTV.

When we went from 3/4" U-matic to Betacam we got about a 10% to 20% improvement. When we went from Betacam to Betacam SP we got about a 10% to 20% improvement. When we went from Betacam to Digibeta we got about a 10% to 20% improvement. When we go from Digibeta to HD we get about a 500% improvement. And it doesn't cost much more than Digibeta.

Possibly no other time in your career in television and film production will you be able to offer your clients an increase of quality of this magnitude with only an incremental increase in cost.

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What is the resolution of HDTV?

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What kind of latitude can I expect from HDTV?

HD has somewhat more latitude than regular video, and less than film. The blacks in HD are strong, with excellent detail visible into the shadows. HD black is at 0, rather than at 7.5IRE, as with NTSC. Although this is a minimal increase every little bit counts.  Highlights can carry good detail right up to 100IRE and the HDCAM format records up to around 108IRE. You must be careful not to overexpose highlights, as the HD camera will clip them almost like any digital format. If anything err toward underexposure of highlights.

Tools to optimize exposure include viewfinder zebra, picture monitor, and waveform monitor. These tools can provide more precise assurance of exposure than incident and spot metering for film.

With careful engineering adjustments, it is possible to manipulate the contrast and gamma characteristics of an HDCAM to increase the effective latitude. However there are some trade offs and special attention should be given to your distribution medium.

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What can I expect from the colorimetry of the HD system?

HD has a rich, saturated color palette, and discriminates subtle color differences better than regular video. While carefully staged and exposed scenes do not necessarily require color correction, HD does have lots of "headroom" to allow fine tuning and refinement of color, gamma and other pictorial attributes.

There are several preset color matrices available and the color matrix can also be configured for particular projects.

The Snell & Wilcox switcher in the HD VISION edit suite has substantial color correction capability as does the AVID DS HD.

For critical color correction the Pogle in Video Post and Transfer's Spirit room is an excellent choice.

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How sensitive is the HDCAM camera ?

F8 at 2000 lux, nominally about like 400 ASA film. The HDW 700 (and F900) are the same speed as the BVW 600 or DVW700, or similar to a high speed film emulsion like 5279. Most scenes can be shot at 6 to 9db gain without serious noise degradation, if low light conditions require it, but more often you’re using negative gain or ND filtering to get a lower stop.

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What is the aspect ratio of HDTV?

Compared to the nearly square 4x3 aspect ratio of regular video, HD is a wider 16x9. That’s a 1.78 ratio of width to height, similar to cinema wide screen at 1.85. The 16x9 HD frame provides a wider canvas, more attuned to human field of view. Naturally composition within the frame, and blocking of action, can be somewhat different. For instance, scenes that would require cutting between close-ups in 4x3 might be carried through in a single wide shot in 16x9. This wider aspect ratio is crucial if the production is to be transferred to film for theatrical presentation.  For home HDTV, the wider aspect means that movies can be viewed without cropping and pan-and-scan.

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How do I protect for 4x3 and 16x9 aspect ratios?

The HD viewfinder, and some monitors, can be set to clearly show the 4x3 frame centered within the full 16x9 frame, so that action can be kept safe if the final product will be 4x3. If the program is only to be seen in 4x3, this is fully satisfactory. However, it will always compromise the aesthetics of composition to try to pull both 4x3 and 16x9 versions of a show. A better compromise whenever possible is to compose optimally for 16x9, and letterbox for the 4x3 version.

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What are some set design considerations?

Of course the wider aspect ratio requires that sets be designed wider, but the more important difference here is that the higher resolution in HD will reveal details that would not be visible in regular video. “Good enough for government work” may not suffice in HD. Carefully viewing the scene in a monitor will often reveal problems that need cleaning up compared to the nearly square 4x3 aspect ratio of regular video, HD is a wider 16x9.

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How is makeup different

As with sets, faces will show up problems in HD that were submerged in the lower resolution of regular video. But too much makeup can also show up as a problem. Makeup needs to be done with extra care, gently feathered out, and generally done with moderation. Advanced makeup techniques such as airbrushing may be helpful to achieve a more natural look. Wigs must be of high quality to look natural.

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What are my monitoring options?

Use of an HD monitor on the set is a valuable production discipline for quality control. When an engineer is employed, he will also need an High Definition waveform monitor. The HDCAM camcorder has quality color playback directly out of the camera, with no need for a separate playback adaptor. The camera output is analog Y, Pb, Pr through 3 BNC connectors. An HD monitor (with analog input) is required, unless a downconvertor is available, which would allow the use of regular NTSC monitors for non-critical purposes. The monitor will be more valuable for judging the image if it is hooded to shield off ambient light, especially in exterior setups. HD monitoring differs from film video assist in that you have a much higher quality image to monitor, and you can playback the actual recorded image, not a low resolution substitute.

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What kinds of signals interface with the HDCAM equipment?

It’s important whenever planning a particular application involving HD gear to be sure that the input/output connections will mate up. For example, monitoring from the camcorder will require an HD monitor with analog inputs (3 BNC’s accepting Y, Pb, Pr), but monitoring or projecting from the studio deck (HDW500) will require an HD-SDI input, which is a single BNC. Transcoders are available to bridge these connections.

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What kind of shutter options do I have?

The electronic shutter provides shorter effective exposure times from 1/100 sec down to 1/2000 sec to control motion blur, and ECS (Extended Clear Scan) allows scan rate adjustments in small increments from 30 Hz to 7000 Hz in order to sync up with computer monitors and minimize roll bars.

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How do I light for HDTV?

Lighting for HD is similar to lighting for film or for high-end video production. It’s a pleasure to light for the HD camera due to its ability to capture fine nuances. Subtle lighting touches that would be muddied down to oblivion in the relative low resolution of standard video can be retained in HD. Because the camera is quite fast, similar to high speed film stock, and because a low f-stop is usually desirable to minimize depth of field, not much quantity of light is required.  Still if it took 10 lights to get that Academy Award winning look on 200 ASA film you will still need 10 lights.  They just do not have to be as big.

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How do the lenses compare in HDTV?

The special high definition zoom lenses made by Canon and Fujinon have extraordinarily sharp optics. It is possible to use regular broadcast lenses (2/3”), although they’re not recommended due to inferior resolution, particularly around the edges. Although quite expensive, prime lens sets are available from Fujinon, Canon, Angenieux, and Optex.

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What are the focus and depth of field considerations in HDTV?

Because of the high resolution of HD, focus is more critical than with regular video. When the cameraman is using the viewfinder as the primary means of judging focus, it’s crucial that he have proper dioptor adjustment for his vision. Whenever possible, it’s desirable to have another crewperson (engineer or video tech) helping to watch in a monitor for focus, exposure and other parameters. Alternatively, a film-style assistant cameraman can tape-measure focus distances and control focus from the side of the lens as would be done with a film camera.

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How do filters react in the HD system?

The high resolution, strong chroma, strong blacks, and robustness of the HD image will permit the use of diffusion, enhancement, polarizer and grad filters with results similar to film.  However, considering the smaller pickup device in HD compared to a 35mm film frame, you may want to consider lighter filtration than normal.

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What is the audio quality like in HDCAM?

HDCAM format has 4 channels of 20 bit AES/EBU audio, providing a very clean digital audio recording exceeding DAT. 2 channels can be fed into the camcorder in the field (XLR connectors), with whatever’s going to channels 1 and 2 redundantly fed to 3 and 4. It’s important to understand the difference in setting levels for digital audio compared to analog audio: Peak reference audio should be set at -20db, compared to 0db for analog audio. For HDTV in the home, the provision for 5.1 channel surround sound is an awesome enhancement over regular TV.

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Does the HDCAM work well with cranes and motion control systems?

The HD camcorder can be easily adapted to all of the many tools of movement used in film and high-end video production: dollies, cranes, jibs, helicopter, steadicam, etc. Since the HD analog signal out of the camcorder is not viewable on conventional monitors such as are built into the steadicam, or might be used on a jib arm, it’s important to plan for an accommodation. The conventional monitor can be replaced with an HD monitor, or a small portable downconvertor can bridge the HD camera output to a conventional monitor.

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How well does HDCAM work with handheld shots?

The HD camcorder is well balanced for handholding. Its weight of about 20 pounds is similar to a BVW-600, a D30/PVV3, or a 16 SR. The frequently used controls are well-placed, and will be familiar to any cameraman accustomed to Sony camcorders. There are a great many adjustments that are controlled in a voluminous menu system, so the cameraman or engineer will want to spend some time becoming familiar with these. Although not necessary at all times, a CCU can be connected to the camera to control image parameters remotely. This allows the engineer to fine-tune the image somewhat like a colorist would in a film transfer suite.

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What changes can I make in my crew with HD?

Of course the excellent ergonomics of the HD camcorder makes it possible to do the one-man-band thing. But for building a solid, balanced crew, standard practice for HD production crew should be more like best practice used for standard video EFP. A good cameraman should be able to adapt to shooting HD, but it will be helpful for him to get some practice before the first shoot. An engineer or skilled video tech is a crucial crew position in HD production, analogous to a first assistant cameraman on a film shoot. The audio recordist familiar with video field production will have no surprises with HD.  Higher end film production is typically crewed the same with the exception of adding a vision engineer and removing the 2nd assistant camera operator.

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Where can I realistically expect to save money?

For the superb quality it provides, HD production is a great value. A single HD tape cassette costing less than $80 records 40 minutes, which in 35mm film would require ten 400’ loads. With film processing and basic transfer, that 40 minutes of film would cost over $5000.

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How does HD production affect my talent?

For production with talent, the ability to record 40 or 50 minutes of performance without interrupting the flow can be a big help in getting the optimal take. More takes can be recorded in less time, for much less money than with film, and it is practical to let the camera roll between takes where this facilitates performance.

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How can HDCAM improve lessen my risk on speculative projects?

The production of independent features is extremely risky, since most projects never achieve distribution, much less turn a profit. With film production, it’s necessary to spend the big bucks on the front end for film stock, processing, and transfer. But with HD production, the front end costs for stock are modest and nearly insignificant. An HD theatrical production can be shot, edited, and sold before spending the money to transfer back to film for theatrical projection. This can substantially reduce the risk confronting prospective investors, particularly if several projects are packaged together. Very soon there will be a sufficient critical mass of digital cinemas around the country that a moderately wide theatrical release can be done without spending big bucks on film transfer and prints.

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Why digital?

Since “digital” is such a buzzword these days, many statements get made about digital TV that are fuzzy, confusing, and imprecise: Beware TV salesmen, etc. HDTV is a kind of digital TV--But digital TV is not necessarily HDTV: it may be a lower resolution cousin. The current generation of DVD is not HDTV. DV, DVCAM and DVCPRO are digital tape formats for small consumer, prosumer and professional camcorders – while they are revolutionizing the low and middle range of video production, their image quality at best is only as good as Beta SP.

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Can I get a film look with HDTV?

The holy grail for electronic cinematography is to achieve the elusive “film look”. But one reason for its elusiveness is that “film look” is very subjective, very much in the mind and eye of the beholder, and means very different things to different people. In order for a director of photography to achieve a certain look sought by a director, the first step is to get a good mutual understanding of what the look is. Reference to paintings, photographs, movies or any visual medium can help to achieve a mutual understanding: a picture’s worth a thousand words. Just as when developing a special “look” for a film project, test shots can be done and discussed to zero-in on what the director is visualizing. The DSP (Digital Signal Processing) technology in the HDCAM camera allows precise adjustment of image parameters such as gamma, color matrix, detail, etc. which can be saved in internal memory as a custom look. Combined with conventional film techniques such as artistic lighting, lens filters, and colorist-style image manipulation in post, HD allows a variety of “looks” that approaches the range of film.

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24p? 1080i? What does it really mean to my production?

Because it has got so much positive buzz lately in the independent feature world, many people new to HD assume that they should shoot 24P, especially if they want a film look. Actually most aspects of the image are the same between “24P” and “1080I”, including most of the strengths of HD that can contribute to a film look: strong chroma intensity, strong blacks, good handling of highlight details, high resolution, and general robust quality of image. Of course, both are actually “1080”. The difference: with “24P” there are only 24 discrete frames per second, compared to 30 frames per second presented as 60 interlaced fields with “1080I”. The 24P frames are liable to much more blurring if there is camera movement or subject movement. A 24P sequence is more “jerky” and subject to flicker than the comparative smoothness of 1080I. Depending on the content, message, or means of presentation, these differences may be good, bad, or indifferent. Either format can be transferred to film with excellent results.

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Why should I use HD instead of Digibeta?

With more than 2 million individual picture elements captured on every frame of HD compared with only 350,000 on Digibeta, the 500% gain should be enough to sway any client.  How about the ability to blow up an image more than 5 times and still be completely lossless on your Digibeta master.  Or the ability to create effects or cut mattes with 5 times the detail.  It boggles my mind that Digibeta would be even considered as an acquisition format in the 21st century. Just as in the past you would shoot film and transfer to 601 digital video (like Digital Betacam) when premium quality is sought, HD can provide a premium production format to capture optimal camera originals, which can likewise be transferred to Digibeta for the rest of post production. HD can be viewed as an “electronic negative” that gives the highest quality in the camera originals, so your project will have more evergreen value.

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How do you edit HDTV?

HD can easily the transferred to Digibeta or BetaSP just as film is.  HD originals transferred are easily digitized into an Avid or other conventional edit system.  The down converted output of the HD studio deck can also be digitized directly into the Avid.  A final product in standard definition can be derived this way, or the EDL generated can be used for HD post production. Many nonlinear systems can now be HD capable, including Discreet Fire or Smoke, Quantel, Avid (Softimage) DS/HD, Fusion Boxx and even inexpensive Mac systems using Final Cut Pro on special boards: Pinnacle Targa CineWave and Digital Voodoo. However, because of the large file sizes entailed with digitized HD, linear editing can still be a good way to post HD, especially for long form.

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HD production has passed through nearly two decades of experimentation, development, and refinement. It is now a practical, solid, reasonably priced, and easy to use medium. Providing superlative image quality with all the advantages of an electronic medium--for a great many production situations HD is now the way to go.

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Copyright © 1999  [In-Sync, Inc.]. All rights reserved.
Revised: July 19, 2001 .