Filmmaking tools, especially in this digital world, are fluid and dynamic, changing and improving, darting about in all directions, and sometimes, sadly, even changing simply for change sake. This new chaos sometimes causes confusion and anxiety regarding which formats to use and how to best use them. It is often tough for those of us that are busy working to stay up to date with all that is new in technology and next to impossible to understand the important differences between products. That is why you can turn to a company like Rule Broadcast Systems for guidance and support.
As many people are aware, Rule Broadcast rents a range of production and post production equipment including miniDV, DVCAM, Beta SP, Digital Betacam, up through HDCAM. Not as many people are aware, however, that Rule also has a robust sales organization specializing in Sony Broadcast products. In fact, Rule has just announced that Sony has recently made them a complete Professional and Broadcast Reseller. This means that any product from DV to HD, is now available for sale, in addition to being for rent.
Of the multitude of formats available, it is High Definition 24p HDCAM that is often the choice of many filmmakers. An often asked question is, “'As a director or cinematographer, why would I choose to shoot High Def”? Here are some thoughts:
HD (high definition) offers 6 times more resolution than regular video. HD is almost the same resolution as a 2k film scan and because its aspect ratio is very close to a 1.85:1 Academy format it lends itself naturally to printing to film for theatrical projection.
24P describes a 24 frame per second progressive exposure. Unlike video, which alternately displays 60 half resolution interlaced fields, progressive exposure provides a single full resolution frame. Combine that with a frame rate of 24 and you can see why shooting HD 24P can achieve a look very close to a film camera. The Sony HDW-F900 camera is the HDCAM 24P capable camera that has been used to shoot movies like SPY KIDS 2, ISLAN OF LOST DREAMS AND STAR WARS: EPISONE II - ATTACK OF THE CLONES.
Because I can actually SEE what I am shooting in its full resolution on a High Definition monitor, I am not second-guessing myself. Choosing film stock is an art and a science that requires years of use and trial and error to master. I have a huge respect for filmmakers that can make an image so moving through their artistry and experience. To be honest, lighting and composing shots using a color accurate monitor reduces my risk while I build and perfect my craft. If I feel the need, I can even playback what I have shot right inside the camera and view it at full resolution on that monitor. That speaks to immediate feedback.
Film style accessories of all sorts are all available as well. From Chroszeil matteboxes, to Microforce zoom controls to extended viewfinders, I can work with film DPs and cinematographers and the learning curve is not that bad. We also have Zeiss DigiPrime lenses, which are absolutely stunning. They are fast and offer a nice shallow depth of field. Using these with a follow focus and a wide assortment of filters offers me the opportunity to shoot the way I want with fantastic results.
Digital non-linear editing is now so readily available in so many affordable systems that my ability to shoot High Definition digital and down-convert those masters to a standard definition system allows me to do several things. As much as I would love to be able to get a piece projected for a festival or hopefully even picked up for theatrical distribution I am also simultaneously preparing a finished video version for other markets. Making it as a filmmaker is a daunting task and it is always smart to have a few destinations for a project. A digital workflow is especially efficient in terms of post production costs. For finishing in HD, Rule is offers a Macintosh Final Cut Pro based non-linear high definition editing system utilizing the Kona HD 10-bit HD-SDI board.
The latest generation of digital filmmaking tools seem to indicate a maturing of the marketplace. Rule’s rule is to keep up with the latest trends and products. Here are just a few products from Sony that were shown in April at the National Association of Broadcasters (NAB) show in Las Vegas:
HDC-F950 Portable Camera Delivering Full 1920(H) x 1080(V) RGB Imagery
The new HDC-F950 camera (scheduled to be available October 2003) captures a full 1920(H) x 1080(V) digitally sampled image. This image is output as uncompressed 4:4:4 digital RGB high-definition video for direct connection via dual HD-SDI to Sony's new family of HDCAM SR recorders or third-party hard disk recorders. A new "under-cranking" feature, which is ideal for motion picture directors, allows additional picture capture rates of one to 24 progressive frames per second.
The new HDC-F950 camera works with Sony's new line of HDCAM SR recorders and BCT-SR Series digital videocassettes to form a comprehensive solution for studio and remote digital motion picture production and post-production.
The SRW-5000 Studio Editing VTR
The SRW-5000 studio VTR (scheduled to be available August 2003) can record and playback the 1920(H) x 1080(V) HD format at 23.98P, 24P, 25P, 30P or 50i and 59.94i. It can also record and playback the 1280(H) x 720(V) @ 59.94P HD format. In addition, it can play back all existing HDCAM tapes.
The SRW-1 Portable VTR
The compact SRW-1 portable VTR (scheduled to be available early 2004) facilitates battery-powered remote acquisition of full-bandwidth 4:4:4 or 4:2:2 digital HD at the same progressive and interlaced picture capture rates as the SRW-5000 machine. The SRW-1 exclusively utilizes the standard small 1/2-inch cassette, providing 50 minutes of recording at 1080/24P.
J-H3 compact player (scheduled to be available August 2003) is a cost-effective high-definition (HD) multi-players designed to feed video to non-linear editors or work as an off-line copy play-out machine. The new deck plays back HDCAM material recorded at 1080/23.98 and 24P, in addition to 50.59.94 Hz. With the optional HKJ-101 board, also offers i.LINK capabilities that can facilitate 25Mbps DV off-line editing on compatible products, and HD-SDI output, SDI output, 3-2 pulldown capabilities.