As high definition makes its way into the commercialmaking vocabulary, there are many new terms, concepts and processes. And it’s no surprise that some misconceptions have also surfaced in the professional community. SHOOT surveyed a series of companies that offer HD services, looking for the most common misconceptions and frequently asked questions. This week, SHOOT aims to clarify some of these points.
Still, as the industry proceeds forward, probably the best single piece of advice would be to communicate during prepro with your vendors–rental houses, post houses, etc. This could eliminate potentially costly mistakes that may arise later in the process.
Thank you to industry sources who assisted in compiling this list, from companies including West Hollywood-based Ring of Fire, New York-based Click 3X, Burbank-headquartered Plus 8 Digital, Santa Monica-headquartered Ascent Media and New York-based Nice Shoes.
1. Does high-definition commercial production require images to be lensed with HD video cameras?
No. As long as you begin with a high resolution medium, and then post in HD and deliver in HD, than you have an HD commercial. This means that other than HD video, a production can use what is already commonly used in commercial production: Film.
Film by definition is a high definition medium. So advertisers may continue to shoot in any film format including 35mm and 16mm. Then one would do a film to tape transfer in HD, post in HD and deliver in HD.
2. When is the most effective time in the production process to decide to create an HD spot?
The best time to make that decision is in preproduction. If a client wants an HD version, it should be posted in HD up front. If you have a standard definition master, and decide at that point that you want an HD version, then you have to go back to the post house, retransfer the film in HD, and reconform the spot in HD. That is going to add unnecessary cost to the budget and time to the schedule.
Some also point out that one can “upconvert” a standard definition commercial to high definition. But upconversion is essentially the process of adding “pixels” (the building blocks of an image, if you will) to a standard definition image so that you can display it on an HD monitor. However, there is no increase in resolution, and one will not see more detail in the picture.
3. If the picture is 16:9 widescreen, does that automatically mean that it is an HD picture?
No, image resolution is not tied to a specific aspect ratio.
There are three main qualities of an image: the number of horizontal lines of resolution, which is measured by “pixels” in the data world; vertical lines of resolution (also “pixels”); and bit depth (the number of bits representing the value of each pixel).
In today’s world of standard definition video, NTSC video is displayed at 640 X 480 lines of resolution; in high definition, commonly used formats include 1920 X 1080 lines.
Aspect ratio is the ratio between the width and height of a picture. So while it may be common to see HD in a 16:9 aspect ratio, and standard definition in a 4:3 aspect ratio, resolution and aspect ratio are separate concepts.
4. What about data? And what is a DI?
Some pundits believe that the industry may move toward data production and commercials may be produced at a high resolution in “2k” data, or 2,048 X 1,556 lines of resolution.
This is the resolution commonly used today on features for digital intermediate (DI) work–which is the process of transferring film to data to accomplish tasks such as color correction to create a digital master, before returning to film for distribution. While DI is still a young workflow, already it is widely estimated that more than half of major Hollywood features now go through the process.
The most commonly used 2k data has a 10-bit depth; this combination amounts to storage requirements of 12 megabytes per frame. That is a staggering number, keeping in mind that a 12 megabyte text file equates to the size of a document with more than 600 pages.
It should be noted that DI is a resolution independent process, so 2k is not a requirement. Some believe the standard could go higher. In the feature world, some facilities are beginning to reach for 4k–4,096 X 3,112 lineSáor four times the picture information in a 2k file.
5. Has the federal government mandated a switch to HDTV?
No, although this has long been a misconception. In December ’96, the FCC made a decision that today’s analog terrestrial TV transmission system be phased out and replaced with one that is digital–meaning that the FCC mandate specifies digital television (DTV).
DTV is not synonymous with high definition television (HDTV). DTV offers free television of higher resolution and better picture quality than analog broadcasting. According to the FCC, DTV options included HDTV, or “television with theater-quality picture and CD quality sound– Alternatively, a broadcaster can offer several different (standard definition) TV programs at the same time, with picture and sound quality better than is generally available today.” Therefore, HDTV is digital; however, DTV can offer standard or high definition images.
Still, it should also be noted that most broadcasters are focusing on high definition programming, which has clearly emerged as the most popular of the DTV options.
6. When is the analog TV shut off deadline?
This subject made big news last week, when Congress approved legislation (as part of a larger budget bill) requiring broadcasters to turn off their analog broadcast signal to complete the digital television transition by Feb. 17, ’09.
Under existing law, the DTV transition is set to end on Dec. 31, 2006, or be extended if certainly conditions exist, including “if fewer than 85 percent of the TV households in a market are able to receive digital TV signals off the air either with a digital TV set or to a cable-type service that carries the DTV stations in the market.”
Reasoning behind the choice of mid-February, according to a spokesperson for the National Association of Broadcasters, included the desire to avoid conflict with major TV events, such as the 2009 Super Bowl. The spokesperson also pointed out that much still needs to be done to insure that consumers are prepared for the transition, including initiatives such as consumer education and proper labeling of sets.
7. Is the postproduction schedule for an HD commercial the same as for a standard definition spot?
Here it is advisable to communicate early with your post facility, as there are variables. If working with software-based systems, rendering time will take longer for high definition work because you are working with larger files. However, some point out that hardware-based systems used for some other tasks may continue to work in real time.
8. Does HD cost more to produce than standard definition?
Yes, no and maybe. There are a lot of variables. Options range from some very low cost HD formats (i.e. HDV) to some more advanced and higher cost digital cinematography systems, and of course there’s film. Rental costs must be considered. For post, some facilities charge a premium for HD services, while others charge the same for standard or high definition work. Some point out that post costs may rise in if the work takes longer.
Ultimately, it’s about finding the best way to meet the creative goals, within budget.
9. What content is available in HD?
The major networks are broadcasting all (CBS and ABC) or much (NBC) of their primetime series programming in HD. Special events including sports are also on the rise. This year, the Super Bowl, Winter Olympics, NFL and NHL games are among the high-profile events scheduled for HD broadcasting. As well, the number of HD cable channels has increased dramatically and today includes HBO, Showtime, ESPN, HDNET and others.
10. What is going on with high definition and the DVD format?
There are currently two incompatible high definition DVD formats that are vying to be the next generation of DVD. To some, this topic is already reminiscent of the Betamax / VHS fiasco of 20 years ago. This year’s drama pits supporters of Blu-Ray Disc technology, led by Sony Corp. against the incompatible players and media based on HD DVD technology and a group led by Toshiba Corp. Stay tuned.