HD explained
November 18th, 2009
HPX2100 HD camera
High Definition content is defined by the amount of pixels per frame, the most commonly used format being 1920 x 1080. This format has 1920 pixels across the screen and 1080 pixels from top to bottom. That, however, is not the end of the story regarding quality. Compression and whether the camera shoots in an independent frame codec, separates broadcast spec HD from semi professional systems.
Canon 5D
Professional HD cameras capture images at 100mb/s, while formats like HD XDCAM and Canon 5D capture at only 35mb/s, only slightly better than DVCAM, which makes it suitable for reality TV/insert applications but not for high end content. The effects of 35mb/s processing will become evident when footage is graded in post!
Shooting on 5D is fine if you can’t afford the real thing, but remember that you now have to compromise your shoot around the camera’s weaknesses. You only have control of aperture, shutter speed and white balance - not a good place to be for a professional cinematographer! Manipulating matrix, knee, clip etc on a professional camera enables the cinematographer to get the very best dynamic range and accurate color. The issues with moire patterning on the 5D in video mode makes it completely unacceptable on a professional shoot.
Cameras like the AF101 with it’s 4/3 sensor and menus for manipulating the image has eliminated the need to scrape the bottom of the barrel with a 5D. There is however still a huge difference between images from an AF101 and a camera like the P2 HD Varicam. I own both and have done extensive tests. There is a reason why one costs more than the other! There will always be people who insist on knocking in a nail with brick though. I will leave the bleeding fingers to them!
Is HDV HD?
The HDV format, although capturing 1920 x 1080 images, makes life easier for the camera’s processor by sampling a keyframe, the first of every15 frames. This is fine for an interview, for example, where the background is static, so only the person’s face, which is moving, is resampled every frame. The problems start when you pan the camera or shoot something like trees, where every frame is different. The processor now can’t keep up as every frame is now a keyframe and huge blocky pixilation occurs.
HDV Camera
Broadcast HD cameras also use 4:2:2 colour sampling vs 4:1:0 in semi pro cameras. This means in layman’s terms, the processor will sample the luminance part of the signal 4 times, then red minus Luminance twice and blue minus Luminance twice. Semi pro cameras sample luminance 4 times, red minus Luminance once and abandons blue. 4:2:2 sampling is essential for getting all the subtle colours reproduced accurately.
Tape or solid state recording?
The future is definitely without tape cameras. Solid state (P2 HD) means no more tape costs, and almost instantaneous transfer of footage from card to your edit system. You will probably have to transfer footage to a hard drive during the shoot to free up space on the P2 card, and will therefore have to employ a person whose sole responsibility will be to make sure that your footage is transferred, backed up and verified before the card goes back into the camera.
Panasonic HPX3700 P2 HD camera
Sony or Panasonic?
Both manufacturers make great ENG/EFP style cameras that produce exceptional images. The fundamental difference is the recording system. Sony uses an interlace 2 million pixel CCD, which is processed at 3:1:1 colour sampling, leaving you with 1 million pixels on tape. Panasonic start with a million pixel progressive scan CCD, processes it at 4:2:2 and offers variable frame rate (60 frames per second slomo). The 4:2:2 sampling makes beautiful natural looking images, a look closer to film than the Sony cameras I believe. This is why BBC Planet Earth chose Panasonic HD.
Panasonic’s latest codec, AVC INTRA 100, has pushed the limits of HD cameras even further. This new codec captures images at 1920×1080 with minimal compression. The quality is said to be equivelant to D5 digital mastering. HDCAM will only shoot 1440×1080 on a tape based recording format.
Sony F3
The Sony F3 is Sony’s latest contender and is a very versatile camera indeed! Out of the box it records in AVCHD codec on solid state cards but add an electronic key purchased from Sony and suddenly it becomes a beast that will output 10bit 444 from dual HD-SDI ports. The camera can be bought in a kit with 3 film style lenses, any other PL lens can be used though. It’s the new sweetheart in the business and I believe a much better camera for my business than a RED.
What about new cameras like RED and Phantom?
Phantom Camera
These cameras deliver great images at very high resolution and at high frame rates. Although these are advantages, do you really need those qualities on every project? Panasonic or Sony HD cameras at normal frame rates are perfect for most applications, why work with enormous data files and footage that has to be processed at huge cost when you don’t get any benefit from it? Broadcasters will only broadcast the 720P format, which produces 1 million pixel frames and the post production guys down convert your high res footage to 2million pixels before they even start working!
What services do I offer?
I am a Panasonic HD specialist with all my own equipment including cameras, lenses, monitors and edit deck to transfer your footage to edit. As I own all the equipment and work with the cameras almost every day, I have a depth of knowledge above most other DP’s that use different cameras on every shoot. My camera menus are set up before I arrive on set and only minor onset menu manipulation is required, saving time.
Willem Viljoen - Panasonic HD specialist
I have been a Lighting Cameraman/DP for almost 30 years and understand that you want to be free of all the technical issues to concentrate on the creative stuff! I will bring all the camera gear to set, make sure that the engineering side of things is taken care of, and then manage your digitizing process at the edit.
I also offer archiving to tape facility. Projects shot on P2 or other solid state systems can be ingested into my Final Cut Pro edit system and transferred to HD tape.