The great debate is on...HD vs Film. Which format best suits your particular project?
The HD world has changed dramatically over the past few years. Many believe the gap between film and digital video has been closed with the advent of new ultra-high resolution, 35mm-sized, single-chip HD cameras that offer superior color reproduction and exposure latitude comparable to 35mm. All professional filmstyle HD cameras are capable of true progressive frame, 24 frames-per-second (24p) capture and provide other film-style features, such as multiple frame rates, variable shutter and cine-like gamma curves that mimic the tonal qualities of film. In addition, all of these cameras accept 35mm film lenses and accessories (some require adaptors such as the P+S Technik Pro35 and Mini35) which assures the exact same focal lengths and relatively shallow depth-of-field associated with 35mm optics.
The movie industry has changed radically over the past decade. Now there are distribution opportunities for small independents that never existed before. Indies have already proven that they too can be successful and profitable at the box office. While HD cameras are now affordable and in the hands of many independent filmmakers, the rules still stand that to be successful in the movie market, you need to make good films. Film festivals and internet sites like YouTube have opened the doors to Indie filmmakers, providing easy access to large audiences. The number of film festivals around the world has exploded, from a handful to literally thousands and each festival receives hundreds and thousands of entries. Both Panavision and Arriflex have joined the digital revolution, recognizing the increased demand for digital acquisition, especially in TV and Indy film production where budgets are tight. A typical 100-minute low-budget feature production will save over $150,000 shooting HD versus 35mm and save $50,000 over 16mm. On a low-budget production, these cost savings are significant.
The digital workflow has taken over film in many areas, especially in post-production. Almost all editing today is performed on non-linear systems and the vast majority of special effects are created through a digital pipeline. In addition, HD is becoming the universal format for distribution, including HD television broadcast and home entertainment (HD-DVD and Blu-Ray HD players are now on the market). HD theatrical distribution will soon follow. Currently, the movie industry spends close to a billion dollars per year on prints, shipping, insurance and other costs, all of which will be eliminated with satellite distribution of HD films for 4K/HD projection. The projected cost savings to the movie industry is enormous and will ultimately be the driving force that will propel the world into HD exhibition.
Exhibitors will also benefit from HD projectors that are solid state and require little maintenance. Pricing on HD projectors will drop dramatically with economies of scale and will quickly be amortized considering the significant savings in operating costs compared to 35mm projection. For example, showtimes can be programmed into digital projectors allowing automatic start and full automation, thus eliminating the need for projectionists and saving theater owners time in training, salaries and expensive worker's compensation premiums. Landmark Theaters has already begun the process of installing HD projectors into many of their theaters and others are following suit. Conservative estimates suggest that 50% of all theaters in the United States will be converted to HD projection within the next five to seven years and over 80% within the next ten years.
HD offers several distinct advantages over film during shooting, such as immediate playback and monitoring of your finished image. LUT's are used to define different looks for the film or the final look of the film print and output that look onto a high-definition display. LUT's can be saved for future film projects or episodes should you want to replicate a similar look. Camera settings can also be saved for future projects so that you can match a particular look exactly (very handy for TV series production). HD monitoring allows you to catch things and make corrections on the fly, while you are in the moment. HD cameras excel over 35mm at locations where you have mixed light sources and don't have the luxury of setting up your own controlled lighting. HD cameras can white balance, film cannot. HD also excels over film in the effects world, where it is possible to view green and blue screen composites on the set, fine-tune alignments in real-time, and give the director a close representation of the finished product.
While there are many who continue to argue that HD is, and will always be, inferior to film, the truth is an HD feature properly lit and exposed looks very close to 35mm and the aesthetic difference is virtually transparent to the audience. Your average movie patron really doesn't know or care what format the film was shot in. All they really care about, and all that really matters ultimately, is that they are entertained. A great story with the right cast and skillful directing goes a long way and it certainly stands to reason that as more people become used to watching HD films, the "look" of HD will become the accepted "norm".
The writing is on the wall. Film will still be the format of choice for a while, especially on large budget features, but eventually one could certainly speculate that the entire process of making films will be entirely digital.
The HD world has changed dramatically over the past few years. Many believe the gap between film and digital video has been closed with the advent of new ultra-high resolution, 35mm-sized, single-chip HD cameras that offer superior color reproduction and exposure latitude comparable to 35mm. All professional filmstyle HD cameras are capable of true progressive frame, 24 frames-per-second (24p) capture and provide other film-style features, such as multiple frame rates, variable shutter and cine-like gamma curves that mimic the tonal qualities of film. In addition, all of these cameras accept 35mm film lenses and accessories (some require adaptors such as the P+S Technik Pro35 and Mini35) which assures the exact same focal lengths and relatively shallow depth-of-field associated with 35mm optics.
The movie industry has changed radically over the past decade. Now there are distribution opportunities for small independents that never existed before. Indies have already proven that they too can be successful and profitable at the box office. While HD cameras are now affordable and in the hands of many independent filmmakers, the rules still stand that to be successful in the movie market, you need to make good films. Film festivals and internet sites like YouTube have opened the doors to Indie filmmakers, providing easy access to large audiences. The number of film festivals around the world has exploded, from a handful to literally thousands and each festival receives hundreds and thousands of entries. Both Panavision and Arriflex have joined the digital revolution, recognizing the increased demand for digital acquisition, especially in TV and Indy film production where budgets are tight. A typical 100-minute low-budget feature production will save over $150,000 shooting HD versus 35mm and save $50,000 over 16mm. On a low-budget production, these cost savings are significant.
The digital workflow has taken over film in many areas, especially in post-production. Almost all editing today is performed on non-linear systems and the vast majority of special effects are created through a digital pipeline. In addition, HD is becoming the universal format for distribution, including HD television broadcast and home entertainment (HD-DVD and Blu-Ray HD players are now on the market). HD theatrical distribution will soon follow. Currently, the movie industry spends close to a billion dollars per year on prints, shipping, insurance and other costs, all of which will be eliminated with satellite distribution of HD films for 4K/HD projection. The projected cost savings to the movie industry is enormous and will ultimately be the driving force that will propel the world into HD exhibition.
Exhibitors will also benefit from HD projectors that are solid state and require little maintenance. Pricing on HD projectors will drop dramatically with economies of scale and will quickly be amortized considering the significant savings in operating costs compared to 35mm projection. For example, showtimes can be programmed into digital projectors allowing automatic start and full automation, thus eliminating the need for projectionists and saving theater owners time in training, salaries and expensive worker's compensation premiums. Landmark Theaters has already begun the process of installing HD projectors into many of their theaters and others are following suit. Conservative estimates suggest that 50% of all theaters in the United States will be converted to HD projection within the next five to seven years and over 80% within the next ten years.
HD offers several distinct advantages over film during shooting, such as immediate playback and monitoring of your finished image. LUT's are used to define different looks for the film or the final look of the film print and output that look onto a high-definition display. LUT's can be saved for future film projects or episodes should you want to replicate a similar look. Camera settings can also be saved for future projects so that you can match a particular look exactly (very handy for TV series production). HD monitoring allows you to catch things and make corrections on the fly, while you are in the moment. HD cameras excel over 35mm at locations where you have mixed light sources and don't have the luxury of setting up your own controlled lighting. HD cameras can white balance, film cannot. HD also excels over film in the effects world, where it is possible to view green and blue screen composites on the set, fine-tune alignments in real-time, and give the director a close representation of the finished product.
While there are many who continue to argue that HD is, and will always be, inferior to film, the truth is an HD feature properly lit and exposed looks very close to 35mm and the aesthetic difference is virtually transparent to the audience. Your average movie patron really doesn't know or care what format the film was shot in. All they really care about, and all that really matters ultimately, is that they are entertained. A great story with the right cast and skillful directing goes a long way and it certainly stands to reason that as more people become used to watching HD films, the "look" of HD will become the accepted "norm".
The writing is on the wall. Film will still be the format of choice for a while, especially on large budget features, but eventually one could certainly speculate that the entire process of making films will be entirely digital.
0 comments:
Post a Comment