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RE: CBS high def test



      >>"But the high-definition camera and the 35mm were
almost indistinguishable--the high definition actually had a little =
better
resolution than the 35mm."  CBS will present a paper on the test at NAB
'97.>>>

There is, as all of us know, far more to the visual experience of any =
medium than pure resolution. There is the issue of frame rate, reaction =
to various exposure techniques, and various other issues that all =
contribute to the human perception of visual material. The issue is not =
always a purely artistic one -- for instance, the "detached" sense of =
reality often conveyed by viewing a film picture is considerably =
different than the more direct view of the visual reality that the =
normally higher frame rate, lower contrast, and generally less colorful =
video medium provides. In my own experence, I've usually felt that all =
high definition video, while interesting, still tends to provide the =
"video" experience of hightened reality -- kind of like watching live =
television such as news. Nearly all film images, on the other hand, seem =
to provide more of a "fantasy" world, that to my mind, is far more =
appropriate and interesting for storytelling. Not to mention the =
production flexibility afforded by relatively simple and inexpensive =
film camera equipment. I would still like to see a 24 frame high =
definition video camera, and I think we will, but until all the above =
issues are resolved, I believe that we will be shooting film for quite =
some time to come.

I do, however, agree with the 16mm comments to some degree. In current =
NTSC and PAL systems, using modern stocks (particularly Vision 320) the =
difference between 35 and 16 is not as significant as many would like to =
believe. However, as you go to higher definition transfer systems and =
displays, the differences do tend to become magnified. I do, though, =
still prefer 16mm as a source medium vs. high definition video for most =
of the above mentioned reasons. Resolution is NOT the only criteria.

Mike Most, Encore Video, L.A.