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Why should I go HD right now? I know everyone is buying HD TVs, but unless my work is broadcast digitally or on cable in HD, not too many people are buying HD DVD or Blue Ray players. Since most of my work is for internet or DVD delivery, I wonder if I should bother with all the extra cost, storage, and processing time if I can't output HD. What are the positive and negatives when moving to HD?
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  • It?s higher resolution pays off when you zoom into the image for additional detail. This may add to the workload but some think its worth it. That ?extra? image area also produces stable images.
  • Differentiate your programs in a crowded market: As viewers demand better-looking television programmes, HDCAM is the surest way to make your productions stand out from the crowd. Containing six times more information than Standard Definition NTSC, pictures shot in HDCAM offer breathtaking clarity and detail. It's the perfect way to add even more impact to natural history, documentaries, drama, live events and commercials.
  • The ideal way to future-proof your productions:
    Shooting in HDCAM ensures maximum shelf-life for your recordings. Whether destined for HDTV transmission, distribution on disc or theatrical presentation, HDCAM guarantees the best possible viewing experience for today's audiences. Shooting in HDCAM at 1080-line resolution ensures that your pictures look stunning on today's HD-ready displays, without compromising quality for next-generation distribution and display.
  • At 1920x1040 resolution, HDV produces an almost perfect chromakey. But don?t  do color-correction- the resolution could make the entire image a bit blurry.
  • HDV performs remarkably well in low light, exhibiting neither gain noise nor MPEG macro blocks. 
  • More image manipulation tricks in your grab bag.
  • Filmmakers looking to save money- HD is a viable option without losing that ?film look?.
  • Unlimited opportunities for international distribution:
    HD now established as the worldwide standard for high quality HD work.
  • HDV has one additional advantage that enables it to be the transition format for event videographers: it also does DV. Every camcorder and every deck released is switchable between DV and HDV.



  • The state of HDV workflow remains primitive.

  • How do you handle 4:3 clients?

  • Asked if the show plans to switch from its current 35mm film format to shooting on high-definition videotape, Cassar says, "There's been that talk, but unfortunately, the range isn't quite where we need it. Digital needs a little more control. Film's a little more forgiving when you're working in different light sources.

    "In our world, when we're outside, that's our biggest problem. When we're doing daylight exteriors, sometimes we just go with whatever the sun's doing. You can't do that in the HD world. You've got to control it. That would lose too much time for us. We move too quick."

  • Compression schemes are complex.

  • Editing is slower but possible with a decent machine, just slower than working with standard-definition video.

Although there are some setbacks, these setbacks only contribute to HD?s delay. However, when will these setbacks no longer be problems? When will high-definition video be the only video people see? It will be more cost-efficient to go HD when everything from home movies to cable to game systems are switched over to HD video.  Whatever move the industry takes to push HD, high definition video is inevitable; it?s just taking longer than some expected.

Last update: 10:09 PM Sunday, April 29, 2007


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