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 Indy 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.