With each passing day, there seems to be more and more confusion as to what format independent filmmakers should be shooting on. It used to be quite simple; the professionals (and wealthy) shot on 35mm, independents used 16mm and amateurs went with Super8. With the emergence of high quality digital formats and break-through films like “The Celebration” and “The Blair Witch Project”, questions have arisen about the possibility of tape-to-film transfer from mini-DV. Throw in the rumors of HD production and the emerging market for 16x9 content and the field begins to get so muddied and confused that picking a format becomes a hopeless mess.
Take heart, gentle reader: don’t worry if you are confused. As independent filmmakers, we are simply in a time of transition. Realizing this may not bring you any closer to making a decision but perhaps you can take some comfort in the fact that no one knows exactly what formats are going to win out.
The first glance at the field confirms the old truisms; the professionals still shoot on 35mm. However, HD is being advocated as a viable format for independents and is already being used on some productions (Runnin’ at Midnite). In fact, George Lucas has committed to using Panasonic’s AK-HC900 Progressive Scan 1080/24P HD camera on at least one of the upcoming Star Wars films. This HD camera is capable of shooting 24 complete frames (not NTSC interlaced) at 1080 lines of resolution in true 16x9. The aspect ratio and higher resolution make it a viable candidate for transferring to film with a minimum of artifacts. The resolution is half of that of a 2K film frame and the cost is still nearly $100,000 US but keep in mind that the technology is developing rapidly.
Although 16mm is still the favorite of film school grads everywhere, the format is losing ground to digital video. Even though the resolution and color reproduction of 16mm are far superior to mini-DV, the aspect ratio is closer to NTSC 4x3 and cannot be easily blown up for theatrical release. If your intention is to create content for theatrical release, you need a theatrical (1.85:1) aspect ratio. If you’re shooting for television and Internet, they aren’t too many situations where you’d want to spend the extra money on 16mm. It’s just a matter of time before the top end of this market gets pushed up into HD and mini-DV eats up the bottom end.
Which brings us to mini-DV, the monster of miniscule proportions. There is a reason why it’s called prosumer, ladies and gentlemen. The resolution and lens quality are marginal and user controls are frustrating for the serious moviemaker. NTSC interlacing makes for annoying artifacts and the resolution is not much better than VHS at 720x540, very important limitations when considering the transfer from tape-to-film. Not only that, but the 30fps frame rate needs to be resolved to 24fps. The smart money says you should purchase a PAL camera for its slightly higher resolution and film-friendly 25fps rate, but will the rest of your equipment be compatible? Aspect ratio is also a problem, with the native format being 16x9. Most cameras offer a 16x9 mode but in most cases, it involves cropping the image (which does nothing to improve resolution) or using an anamorphic effect to squash the image. If you morph the image with a lens or filter, the next question you have to ask yourself is if your editing system can handle the footage (and not all can). Since the technologies are new and manufacturers have not developed tested solutions and standards, prepare yourself for a frustrating experience.
Despite these drawbacks for the professional, mini-DV is a resounding winner for amateurs and students. Already suffering at the hands of Super VHS and Hi-8, Super8 has now been permanently banished to the obscure reaches of experimental art films by mini-DV.
Although you should never wait on technology (you’ll always be waiting), now is not the time to convert your life savings into video equipment. My recommendation is to rent what you can and buy what you must for the time being and keep a careful watch on the market. We can take some tips on the direction we’re headed in by watching the big boys, especially Mr. Lucas. There’s a reason why he’s one of the richest people in the entertainment business and if he’s throwing his weight behind digital acquisition you had best pay attention.