By Conrad Denke
Guest Columnist

In part one of this column (Issue #4, 2005), Mr. Denke discussed the early history of High Definition, including Japanese prototypes, the HDCAM format breakthrough, and early HD television production.

George Lucas and 24P

In spite of advances, High-Definition needed a champion to carry it to the next level. George Lucas of Star Wars fame and veteran of film production had fallen in love with HD. He had staked his own claim at the crossroads of new technology and the production business. But Lucas had one major problem with HD. It looked too much like great video with its "live" look. He, along with some others, suggested to Sony that they should explore an HD signal that was similar to film—24 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 producers evaluated the new format and its possibilities. Some decided to continue production in 1080i while others found the look of 24P more appealing. Traditional filmmakers began to show interest in 24P as well.

Panavision began working with Sony to provide 24P HD cameras for George Lucas and Star Wars—Episode II. An 11:1 Primo zoom was created along with a support system. Now happy with the image and the equipment package, Lucas went off to shoot in Australia. He was incredibly successful with the camera. In shooting some 60 days, and 30-plus setups per day, they had not one hitch. Following Lucas’s lead, other independent producers experimented with the new format. Today we see major films like Robert Altman’s The Company and Tom Cruise in Collateral as bold new examples of HD.

More 24P capable formats and post equipment have followed. Panasonic added 24P support to the D5-HD format, which became the preferred high-end tape format for telecine and universal mastering applications. 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 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 come out with non-linear editing systems for 1080i, 1080P, and 720P-HD formats.

Present Day and the Future of HD

Now that 24P cameras have become widely available, they are being used for all types of productions. Diagnosis Murder was the first program to try HDCAM production for prime-time. Today the entire CBS prime time lineup is broadcast in High Definition. The other networks have followed suit with increased HD broadcasts. Many television programs are still shot in 35mm film, especially hour-long dramas, although most sitcoms have converted to High Definition. A transition to HD for hour dramas is being led by programs like Joan of Arcadia that demonstrate HD production works well.

In the beginning, the brightest spots for broadcasting in HD were the satellite companies. DirecTV and The Dish Network offer several channels including Mark Cuban’s HDNet and HDNet Movies, Discovery, ESPN, Showtime, HBO, and others. Cable has followed closely behind and now offers HD in all those arenas, as well as local HD broadcasts.

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.

Robert Rodriguez, producer/director of El Mariachi, Desperado, and Spy Kids, converted all his productions to 24P. His Once Upon a Time in Mexico was shot entirely on HDCAM 24P. 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. Motion pictures like Red Riding Hood and Collateral have used the Viper. Sony is now marketing their HDCAM SR cameras and recorders, which increase the recording bandwidth and resolution over current HDCAM videotape recorders. Major networks have adopted SR as their mastering format. 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 record onto hard-drives. Panavision released its Genesis camera, which uses Sony’s SR format and a full 35mm target, so traditional 35mm prime lenses can be used.

In addition to HD acquisition, it is common now for producers to use the workflow known as digital intermediate (DI). In a DI workflow the picture is acquired on film or High Definition. The film is then scanned at high-resolution HD (HDCAM, HDCAM SR or HD-D5) or data files at 2K or 4k or higher. The images are then color corrected and manipulated before being sent back to film for projection. Incredible flexibility is the result. Many major motion pictures released today use this process.

Another area that still holds promise is digital cinema. Large screen projector technology is advancing rapidly, but costs are still too high to see a massive change from conventional film projection. The incentive of viewing a motion picture exactly as the filmmaker designed it is driving the change. As soon as the economics line up, we should see another revolution for HD.

It’s been a long journey from the first days of Hi-Vision to the current state of growing 24P production. We are not done. There is a long, exciting, and expanding journey yet ahead.n

Conrad Denke is the CEO of Victory Studios, a full-service post facility in Seattle, Washington and North Hollywood, California. He also publishes HighDef magazine. Visit www.victorystudios.com and www.highdef.com.