Sony Demonstrates HD Cinema Camera By Bill Kallay
Is it High Definition Television or is it 35mm film? Attendees at the Tri-Star Pictures Screening Room #24 had an opportunity to judge Sonyís new HD camera system, sponsored by the Sony Pictures High Definition Center. Instead of shooting on standard 35mm film, filmmakers now have the option of using high definition videotape, shot at 24 fps. Thatís right, videotape. Just a few years ago, the notion of shooting a feature length movie on video was looked down with scorn by nearly every filmmaker in the business. A few directors like Peter Greenaway and Wim Wenders took a stab at it, but their films failed at the boxoffice. Video looked poor in comparison to film. Because technology has improved, especially in high definition video, more filmmakers, including George Lucas and Michael Moore, are taking the plunge into the world of digital image capture. Representatives from the film industry were shown 35mm prints of material shot on high def, presented on a 1:78:1 aspect ratio movie theatre screen. The first film, a short titled ""Damned If You Do,"" was shot and edited completely in high def video, then telecined to 35mm film. A Sony HD camera captures a 16:9 image (1:78:1) at nearly 2000 lines of resolution. Every step from production to post production is taken in the digital video realm. When a production is shot, the director and cinematographer see their ""film"" in video. During the editing process, again, video is seen on the edit bay screens. Unless it is requested to see a 35mm work print, a HD video is not seen on film until the final prints are struck. High def-to-film doesnít quite look like film and it doesnít quite look like video; it looks like a hybrid of both. Widescreen Review Research Editor Michael Coate compared the filmís look to 16mm blown-up to 35mm. WSR contributing writer Bill Kallay thought the images looked as good as 35mm in certain scenes, but weaker in others. In bright scenes, just as with 35mm, the imagery can look gorgeous. Outdoor shadow scenes and indoor scenes make the images look like a fair 35mm print you would see at the average multiplex. The drawback to the HD-to-35mm look is ghosting. In a wedding reception scene, the father of the groom stands in place holding a microphone. When he moves the upper portion of his body to address the guests, his body turns ghostly until it stays stationary. This wasnít a special effect but a discrepancy that gives HD its video look on film stock. To those in attendance, this flaw was very noticeable. To audiences weaned on watching movies mainly on video, ghosting will not be a distraction. The Sony HD cameras are impressive and compact, much like their Betacam cousins. Each piece costs $75,000 and can handle a 40-minute cassette at $100 each. That is one of the intriguing aspects for documentary and independent filmmakers. Camera and lighting set-ups can be done quickly with the HD system. In addition, directors can opt to shoot more elaborate and longer takes not easily done on film due to cost. So why would George Lucas shoot his next two ""Star Wars"" movies on video? According to Don Miskowich, Vice President of Business Development, Lucas shot ""The Phantom Menace"" in 95 percent digital, except for shooting on 35mm stock. The drawback for Lucas was that the film had to be scanned into the digital realm. Since Sony developed the latest incarnation of the HD system, Lucas was impressed that he could shoot digitally, edit digitally and present his films digitally. No more scanning is necessary. As announced previously on this Web site, Lucas asked Sony and Panavision to work jointly on a HD camera system for the next two ""Star Wars"" movies. As of the present, Lucas has ordered four HD cameras, which are brand new and being developed for him. There have been tests done to see if a wider aspect ratio can be used on the HD system, which Panavision is working on. Little-by-little, the lines between video and cinema are blurring. HDTV is sneaking up on the film industry and gaining acceptance among filmmakers. Whether or not the majority of filmmakers will embrace it is unknown. ""(This) technology was meant for the guys in broadcasting,"" said Mr. Miskowich. Obviously, Sony is not deterring members of the cinematic community from using the high-def system. One issue that arose after the demonstration was if Lucasí next film is 100 percent digital from production to exhibition, wouldnít the movie we see look like HDTV? It sounds as though youíd be watching a giant HDTV image for $8.00 in a movie theatre. If this is the case, then why bother to buy a digital TV in the first place? Sony high-def is still relatively new. Itís unfair to criticize the system too harshly because it is impressive for what it is - a high quality option to film. The next three years will be a test to HDís survival, and whether or not filmís demise is imminent in the 21st century.