 |
|
|
|
|
|
|
|||||
|
|
|
|
|
|
 |
|||||
 |
 |
 |
 |
 |
 |
High definition (HD) television is a recording and broadcasting system that gives a picture quality four to five times sharper than the standard definition pictures you’re probably used to watching on your TV set.
Most standard definition television screens make their pictures using 576 active lines - but an HD television can use 1080 lines in a wide screen format, resulting in startlingly clear, sharply defined images.
Many countries around the world such as the United States, Australia and Japan already broadcast some or all of their programming in HD. In the near future, the UK is set to join the high definition revolution.
In fact, many UK productions are already shot using HD cameras and the BBC have publicly stated that wish to record 100% of their programming in HD by the year 2010.
Productions are currently filmed in HD partly to “future proof” these recordings for broadcast when HD becomes a reality in the UK and partly so that these programmes may be sold to overseas clients who already demand that submissions are made in an HD format.
As well as being an important change in broadcasting standards, the clarity of picture given in high definition means that vital changes must be made to production standards too - affecting many technical and set craft grades and, of course, on screen talent.No matter whether your career is in front of the camera or behind it - if you work in film or television you are probably visiting this website because your life is about to be impacted by HD.
You may be visiting this site because you’ve heard worrying stories about how the clarity of HD can negatively affect the on screen image of those who appear on it.
If you’ve already had an opportunity to see high definition television for yourself, you probably have numerous questions or concerns about how this new broadcast standard will affect you.
The purpose of the website is to try to address those worries you might have - and provide answers to your questions in a clear, nontechnical way.
Of course, it would be great if you could spare a little time to browse the entire site. But in case you’re in a hurry, you can get answers to many of the questions you’d like to ask by clicking the relevant link at the top of this page.
Don’t forget, if you would like specific advice about how HD may affect you, you can book your initial free confidential telephone consultation with John Woodbridge by clicking here.
Let’s explore what HD means to us in a little more detail.
HD is not just a change in recording and broadcasting standards.
It also requires a change in production standards - not only in make-up and hair artistry but in many other craft and technical grades.
Watch HD recordings on an HD monitor - and it’s as if a fine gauze has been lifted from the camera lens.
Many people compare HD resolution with the sharpness and clarity of 35 mm film - something we shall return to shortly.
Certainly all personnel, including on-screen talent, looking at HD monitors on the studio floor will see a marked difference in colour rendition, resolution and definition when compared to the old standard definition (SD) format.
The HD consumer revolution has already started - albeit reasonably quietly - with some new televisions being sold in the UK capable of receiving and screening in high definition - ready for the time when broadcasters begin HD transmissions to the UK market.
The HD production revolution is already well under way. Programme makers are finding that high quality HD cameras and other related equipment are now very competitively priced, meaning that equipment hire or purchase costs are often roughly on a par with conventional SD kit.
These factors combine to make HD a natural choice for most productions shooting on digital video formats as opposed to film stock.Not immediately, but probably in the near future.
Look at what happened to analogue video when digital video came along.
Very few (if any) professional productions are now shot in the UK using analogue video formats.
The same is likely to be true for the digital shift to HD.
Not everyone will adopt HD straight away, but they probably will make the change sooner rather than later.
You may already know that some productions are shooting movies on HD rather than film.
Of course, there will always be hot debate between film purists and those who shoot on HD digital video formats concerning the look, feel and finish of the final production.
But it is an undeniable fact that HD images are truly stunning when projected in cinema format and currently over 150 cinemas in the UK are being equipped to screen productions in HD.
Many Directors and DoPs love shooting in HD as it gives them far greater versatility at lower cost than working on 35 mm film.
So even if you tend to work more in film than television, you may still find yourself involved with an HD shoot. Many HD cameras can be fitted with film-type lenses and many have computerised menu options that give the recorded HD image a more “filmic” style and feel.Critical to this filmic style is the ability that most HD cameras have to change the way they scan the information they record.
SD digital video relies on an interlaced method of scanning which combines alternate lines (fields) to create a single image and this can result in certain loss of picture sharpness and resolution when shooting interlace.
That is what gave video it’s softer (some would say more “artiste friendly”) imaging as opposed to the sharpness of film. HD is still often shot in interlace - but be aware that the amazing increase in image resolution found in high definition makes interlace HD a very different medium to interlace SD.
But HD cameras can also be switched to another method of image scanning called progressive. Some modern SD cameras may also have this facility.
Without getting too technical, progressive scanning scans one entire frame at a time (as opposed to interlace which combines two separate scans) and therefore shooting in progressive formats looks and “feels” more like the frame by frame imaging used in film stock.
Therefore most HD cameras can change from a more conventional video style of imaging (interlace) to one more akin to film (progressive) literally by the flick of a switch.Need expert professional make-up advice or HD make-up for your next production?
Book your free initial confidential telephone consultation with John Woodbridge
or call the 24 hour answering service
UK Callers: 020 8574 7778
International Callers: +44 20 8574 7778The use of specialised lenses, filters and other “on board” computerised menu options found on the HD camera can result in truly dramatic film style images.
So when working in HD, it’s important to be aware that “video” isn’t just video anymore.
It’s often helpful to know whether the imagery is being recorded using interlaced or progressive methods, as this will give you an better idea of the way the final footage will look.
If you ask, you may be advised that the production is being shot in “50i” or “25p” or some such mysterious code.
The number given relates to the frame rate (frames per second) but the important part to listen for is the “i” or “p” after this number.
If you hear the letter "i", you'll know they are shooting using interlace scanning (more like video).
If you hear the letter "p", you’ll know they are shooting using progressive scanning (more like film).