Highdef Overview
by Conrad Denke
CEO
the Victory Studios
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High Definition Revolution
High Definition was the future. Suddenly, it has
become the present. With a growing demand for high definition programming in
broadcast, cable, and satellite, companies are scrambling to take advantage of
the new dynamics in digital content creation and produce programming in HD. They
are finding that the picture clarity, the wider screen, and high quality
surround sound add a new dimension to their programs, and viewers everywhere are
becoming acutely aware of this dramatic new home-viewing experience. High
Definition is also taking electronic program creation to a place never seen
before… the big screen. You simply have to see HD projected on a large screen
and you’ll know it belongs there, too. With the introduction of 24P, the
“film-like” highdef format, film production, as we know it now, is already
changing dramatically. 24P brings the best of the film and high resolution
digital video worlds together. It has the excellent qualities associated with
film, but also offers the ease of use, consistency of picture and sound quality,
and the control associated with digital video. It is no longer a question of
whether the market will embrace Highdef production technology – it’s now
simply how fast the change will occur.
History of HD
If we look historically at the process, the advent of
Highdef has been a long journey. The earliest work in high definition began in
Japan in 1964. NHK, the Japanese broadcasting company, began producing
prototypes and by 1984 had developed an analog HD production chain that was
sufficiently mature to begin serious program production. By 1991 NHK was
transmitting via satellite the 1035 line high definition “Hi-Vision” format
to viewers in Japan. About the same time in the United States, KCTS TV, a local
public television station, was experimenting with the format. In spite of the
cumbersome equipment, the station managed to produce some impressive programs.
Hollywood experimented with the format also. In 1988, CBS produced a made-for-TV
movie in the Hi Vision format. There were problems with working with high
definition at this stage of its development, however. Cameras and recorders were
large and heavy and required lots of cable and power to operate. On complex
productions, every time a camera position changed, hundreds of feet of cable had
to be moved. Engineers were constantly needed to keep the early cameras and
decks running properly. The experiences of these early HD pioneers, working with
this cumbersome equipment and little understanding of the format, ultimately
helped the technology mature and laid the groundwork for the digital revolution
to follow.
As Highdef was developing, the companion digital
technology necessary for it to grow was in its infancy. The ability to transmit
and store the large amounts of information that a digital HD format would need
was cost prohibitive, if not technically impossible at the time. Also, early HD
pioneers were restricted by the large size and complexity of equipment used to
acquire high definition footage. Advances in camera technology and digital
processing were emerging rapidly however, and within a few years, everything was
to change.
The HDCAM Format
The breakthrough came in 1997 when Sony introduced
the HDCAM videotape format and the first truly portable HD camcorder. The HDCAM
format was a radical departure from the earlier analog systems. It was compact,
portable and all digital. The clarity was incredible, and its pricing was
dramatically below all previous HDTV program origination equipment. With the
advent of the HDW-700 camcorder and a complete line of high definition
production gear available, it was clear that digital HD had finally arrived.
The new format was introduced as a turnkey system,
from camcorder to post production. Everything was in place. Rental companies
like Bexel, Plus 8, Fletcher, Panavision and others bought cameras and made them
available. Panavision developed their own lenses, and other manufacturers like
Fujinon and Canon created new zoom and prime lenses for the cameras. Pioneers
like Victory Studios and Laser Pacific were the first to offer full post
production in Highdef. Many other companies followed with special accessories
and companion equipment in production and post. About the same time, Panasonic
also created a digital high definition videotape format. Based on the highly
successful D-5 machines, HD-D5 found a market in telecine and post production
work as well, but the company never produced a camcorder for the format. Early
digital HD formats were based on the first SMPTE HD Production standard –
SMPTE 240M and its accompanying digital standard SMPTE 260M. Accordingly most
cameras and tapes were 1920(H) x 1035(V). Because SMPTE later advanced to the
SMPTE 274M production standard and the high definition transmission standard for
the US later called for 1920(H) x 1080(V), Sony and other manufacturers adapted
quickly and updated their products to support the higher line count.
First Waves
The first wave of business came mostly from
broadcasters. The “1080i” format was the best video anyone had ever seen.
Television stations from around the country were experimenting with production
and broadcasting in HD. Unfortunately, set sales did not follow. The prices were
still too high, and the lack of programming prevented buyers from having any
incentive to be pioneers. PBS stations produced a number of documentaries. Chihuly Over Venice, a beautiful documentary about glass art in
Italy and many others were made available. Even a public affairs series National
Desk was produced in HD. One of the most striking programs was produced by
Canadian Gary McCartie called Over Canada.
It was the effort of two years of shooting HD across Canada. NBC switched the Tonight Show to 1080i, and CBS changed their soap The Young
and the Restless to HD as well. With programs like these, it became clear
that Highdef had the enormous potential to reach deep inside the heart of the
viewer.
The Bottom Drops Out
After the first wave, it was clear that Highdef
production could not sustain itself without an outlet. Broadcasters needed HD
viewers to offset the extra cost of producing programs in HD. Unfortunately most
viewers never even saw those few HD productions that were completed in Highdef
because, without the new HD sets, they were only able to receive the standard
definition analog broadcast. Also, broadcasters didn’t agree on a single HD
resolution to transmit. Some went with the 1080i system where the image size is
1920(H)x1080(V) and is transmitted interlaced at about 30 frames (60 fields) per
second. Others decided to go with a different HD format, “720P,” which
transmits a 1280(H)x720(V) image at 60 progressive frames per second. As time
went on, it became clear that adoption of Highdef production and distribution
was going to be slower than some expected. Then something happened that changed
the picture altogether.
George Lucas and 24P
Since it’s beginning, film has been the format of
choice for nearly everything visual. Television’s immediacy and live
production had created a need for an electronic recordable format, and video
recording was invented. After programs could be recorded electronically,
portable cameras and sophisticated editing systems were also invented. Video
changed and grew in quality. In spite of these changes, it never threatened film
for quality. It was significantly softer than 35mm film, limited in contrast
range, power hungry and clumsy in comparison. In the early eighties video took
over the corporate and middle end of the production business because of cost.
And for the next nearly twenty years, the video revolution transformed itself
from analog into the digital world. When high definition systems were developed,
they had followed the path blazed by their standard definition video
counterparts. Interlaced scanning and high capture rates were built into the
design of high definition systems.
George Lucas of Star Wars fame had fallen in
love with HD. He only had one problem. It looked too much like great video. He,
along with some others, suggested to Sony that they should explore an HD signal
that was similar to film, twenty-four frames per second in the progressive
format, instead of the video interlaced system. This would more closely emulate
film capture, and better conform to the computer graphics systems he and others
were using.
Sony responded and developed a complete line of 24
frame capable HD gear. They dubbed their new line "CineAlta" which has
become a world standard for "24P" HD.
24P high definition has many of the unique attributes that have been
traditionally associated with film origination. Among these attributes is the
concept of "Universal Mastering," the ability to output a variety of
video signals compatible with all domestic and foreign television standards from
the same 24P source. The introduction of 24P slowed most of the existing 1080i
production, especially programs in the entertainment genre, as they evaluated
the new format and its possibilities. Some programs decided to continue
production in 1080i while others found the look of 24P too appealing to pass up.
Traditional filmmakers began to have interest in 24P as well.
Panavision began
working with Sony to provide HD cameras for George Lucas and Star Wars Episode
II. An 11:1 Primo zoom was created along with a support system, and now
happy with the image, Lucas went off to shoot in Australia. He was incredibly
successful with the camera. In shooting some 60 days, and 30 plus setups a day,
they had not one hitch. But Star Wars Episode II was not the first
24P feature. That same year, Victory Studios finished postproduction work on the
first feature shot in America with the new camera. Entitled Nicolas, the
movie was directed and produced by Peter Shaner. Shaner was one of the first to
get one of Panavision's prototypes. With the flexibility of Sony's new line of
24P HDCAM equipment, the motion picture was easily assembled and finished,
including color correction and some amazing looks that were created. The team on
Nicolas showed that HD was a viable alternative for independent feature
filmmaking.
More 24P capable
formats and post equipment have followed. Panasonic added 24P support to the
D5-HD format which has become the preferred high end tape format for telecine
and "Universal Mastering" applications. With its full bandwidth 10 bit
video and low HD compression ratios, the HD-D5 format offers distinct advantages
to high definition production where portability is not a concern. For portable
24P HD applications, Panasonic introduced the DVCProHD system with the Varicam
camera. The Varicam uses a unique flagging system, which is able to
electronically record a 24 frame signal on a standard 720P/60 DVCProHD tape. The
original 24 frame material is easily extracted upon playback. The Varicam's
unique system also allows for in camera "overcranking" and "undercranking"
to create slow motion and speedup flexibility. In addition, Avid, Apple, Boxx,
Sony, Quantel, and others have all come out with non-linear editing systems for
1080i, 1080P and 720P HD formats. Clearly High Definition is here to stay.
Present Day and the Future of HD
Now that 24P cameras have become widely available,
they are being used for all types of productions. People are learning of the
benefits of the new digital acquisition systems. Broadcasters are still dealing
with cost issues, but as sales of HDTV sets grow it appears that daylight can be
seen at the end of this long dark tunnel. CBS courageously pioneered the HD
format for prime time television. “Diagnosis Murder” was the first program
to try HDCAM production for prime time. Today the entire CBS prime time lineup
is broadcast in Highdef. ABC, NBC and FOX have followed suit with increased HD
broadcasts. Many television programs are still shot in 35mm film, especially
hour-long dramas, although almost all sitcoms have converted to Highdef. The
transition from 16mm to HD in the situational comedy genre was spearheaded by
pioneer Derek Grover, Director of Photography, who showed the studios that HD
could be easily adapted to the production system in place with significant cost
savings. Derek was also integral in the creation of the DIT(Digital Imaging
Technician) job classification for IATSE Local 600.
Perhaps the brightest spot on the horizon for
broadcasting is in the satellite arena. DirecTV has several channels including
Mark Cuban’s HDNet and HDNet Movies. Discovery and ESPN added HD channels and
Showtime and HBO have regular HD programs available. The Dish Network also has
similar HD channels, making it easier for consumers to make the HD decision and
providing a larger outlet for HD programming. Cable is now aggressively moving
into HDTV.
The economy of production in HD is improving as
prices for HD acquisition and post continue to decline. With the advent of HD
non-linear finishing systems, the price of HD post-production is approaching
that of standard definition. Productions like “One Hundred Centre Street”
have shown significant savings with 24P. According to producer Debbie Elbin, the
project, directed by Sidney Lumet, came in at about 1.1 million per episode, as
opposed to the usual 1.8 to 2.1 million for similar one hour dramas. As more and
more productions learn how to deal with 24P, the advantages are becoming clear.
And even the feature film arena is now heating up.
Robert Rodriguez, producer/director on El Mariachi, Desperado, Spy
Kids, has now converted all his productions to 24P. He just released Once
Upon a Time in Mexico which was shot in HDCAM 24P, and previously he did Spy
Kids II and Spy Kids 3D
in the 24P format. Feature productions in both the 1080P and 720P HD formats are
starting every day.
Naturally, manufacturers are trying to stay ahead and
improve their products. Cameras such as the Thomson Viper are outputting high
bandwidth data for even more flexibility in coloring in post production. Sony is
now marketing the HDCAM SR videotape format, which increases the recording
bandwidth and resolution over current HD videotape recorders. Fully digital
systems such as BayTech’s CineRAM record an uncompressed, ten bit, RGB 4:4:4
signal directly to RAM, while systems, like the Director’s Friend, records
onto hard drives.
In addition to HD acquisition, there is a growing
movement towards a workflow known as digital intermediate (DI). In a DI workflow
the picture is acquired on film and then scanned at high resolution HD (HDCAM or
HD-D5) or data files at 2K or 4k or higher. Then the images are color corrected
and manipulated before sending them back to film for projection. Incredible
flexibility is the result. Many major motion pictures released today are using
this process.
It’s been a long journey from the first days of
Hi-Vision to current state of growing 24P production. We are not done. There is
a long, exciting, and expanding journey yet ahead.
Conrad Denke is the CEO of Victory Studios, a full
service post facility in Seattle and North Hollywood. He also publishes HighDef
magazine. Web sites include VictoryStudios.com and HighDef.com
