About three years ago, the calls started coming. We all remember them—they always started like this: "I have a spot I’d like you to direct, and I was thinking we should do it in HD to keep the cost down." This always elicited the same response from me: "Why?" The conversation would be an uphill battle from there—me cringing, trying to explain the differences between film and HD without sounding like a Luddite or a dinosaur. Back then, I often responded emotionally—I didn’t want to let go of the level of quality we had attained on film. Film just plain looked better.
Since that time, I’ve directed enough spots, shorts and image pieces on HD to understand what it was that made me cringe. These clients were unwittingly saying, "Let’s do HD as if it were a video shoot." In effect, they had been led to believe that HD was a cheaper alternative to film and, better yet, delivered the same results. The thinking went: "We can just let the camera roll, we won’t need much in the way of crew, lenses, et cetera, and best of all, we can walk away from the shoot with the tapes in hand." Well, that would be cheaper than working with film, but it certainly wouldn’t look as good!
I’ve come to realize that there is an inherent tendency to compare film to HD. To look its best, HD has to be treated the same way as film. HD, after all, is just the origination medium. There has to be a real DP, with a real assistant camera for focus pulls, camera operation and settings. The camera package needs the same lenses, filters and camera support that are required for a film shoot. Lighting and grip equipment must be on par as well. Locations and set pieces need to be dressed and art directed, talent must be talented and color correction must be executed by professionals, just like with film.
And there’s more. One of the main characteristics that distinguish most film shoots from video shoots is the approach. Because of the inherent cost of shooting film, there is a need to put the final touches to all of the details before ever hearing the pricey whir that follows "Roll film!"
There is a level of craftsmanship and care inherent to a film set, which has developed over time, partly out of necessity, and partly out of pride. As with film, HD performances need to be polished and blocked, and shot compositions must be carefully thought out along with the lighting that needs to be examined, measured and artistically designed. In contrast, I have found that the scariest part of working with a tape format (HD) is the tendency to think, "We can just let it roll." I fear this thinking can easily lead to a dangerous laziness most terrifyingly summarized by the words, "We’ll fix it in post."
Even as I write this, I know that with all the advances in HD technology, most of the caveats that I used to throw out as reasons not to originate on HD are evaporating. I know that I can now get true high-speed capture on HD. I know that the dynamic range of HD is now approaching that of film. I know that with prime lenses, control over depth of field in HD is at least improving. I must admit that as with digital still photography, it’s great to actually review a shot at full resolution, and not have to wait until telecine to see results.
And, yes, I am happily shooting in HD. It’s a great format for certain things. For extended interviews or testimonial-based shoots, it can save you tons of money. Our content division has long since convinced me that for wide-open scenics, cityscapes or architecture, HD is the way to go. And if we educate our clients and ourselves to treat HD with the same respect, craftsmanship and care that we do with film, it can even look great for spots and features.
Having said all this, I have to admit I still have a little bit of bias left—mostly an emotional attachment that is difficult to articulate. I’m not sure what it is, but I just love the feel of film. I love how film captures my subjects and backgrounds, and how it can show me the atmosphere in between. I don’t know when HD will match the magic of film, but I think we owe it to the format to push it to the limits and help it achieve its own unique voice—a voice defined by quality and craftsmanship, not by price.
