A resource for information on Digital Film - 2K & 1080 24P feature filmmaking.
  • Cinematography   Shooting with 1080, 2K , 4K and 720 resolution, compressed or uncompressed, 24p (23.976), tape or tapeless image capture, flash memory systems, DPX files, Single CMOS sensors, direct to disk recording, tech info, 4:4:4 RGB. Data Rates, Rentals, Lenses, Underwater, dockable recorders
  • NLE Editing   systems, editing in compressed HD, codecs, audio mixing, conversion products, DI creation and finishing systems
  • HD Cameras   Phantom, Viper, Arri D-20, Genesis, Red One, Kinetta, Dalsa, Silicon Imaging, High Speed Cameras
  • Production Links  SAG Indie Contracts, financing
  • Sound   DAT or Disk Files, Double system sync setups, jamming  
  • Data Rates  

                      

Cameras 


  • The most commonly used cameras are Sony's Alta Vista F900 and Panasonic's Varicam. The F900 records in 1440x1080/24P and the Varicam in 720/24P, but it has a variable frame rate (12-60). Both use 3 CCD sensors.
  • Viper, Arriflex D-20, Origin, Genesis, Phantom and Sony's 950 and F23 are used for higher-end recording of 4:4:4 and 4:2:2 data flows with 1920x1080, 2K and 4K resolutions for DI masters. 
  • The D-20, Origin, Genesis, Phantom and Red all use single Super 35mm sized CMOS sensors (except Genesis which use a single CCD sensor). The exact resolutions and megapixel counts. Viper, the 950 or the F23 use 3 CCD chips.
  • Uncompressed 4:4:4 data flows should be captured onto hard or optical drives.  Sony's SRW-1 VTRs compress 4:4:4 RGB at 2:1:1 in the HQ mode. S.Two and other DDRs are used with the Viper, D-20 etc. to record tapeless workflows.
  • Silicon Imaging 2K SI is a 1920x1080/24P direct to disk system and uses a single 2/3" CMOS sensor which allows the use of 16mm film lenses. It records using the CineForm raw format  
  • Viper has a dockable solid-state recorder, Genesis and the F23 have a dockable VTRs. 
  • Infinity  is a 720/24P solid state camcorder from Grass Valley using Rev Pro  compact flash media
  • Panasonic's HVX-200 (720/24P) uses P2 flash memory cards and intercuts with the Varicam 
  • Sony's XDCAM system is its entry into tapeless recording
  • HDV is highly compressed HD using the MPEG-2 protocol - basically upgraded consumers products. A few documenatry features have been shot using Canon's XL-H1, XL-2, Sony's Z-1, A-1 or JVC's HD-100. All use 1/3 inch sensors.

 Editing 

  Edius HD

  • Avid and Final Cut Pro and their premutations - like "express" versions - are the two major non-linear editing (NLE) systems used. Editing software review   
  • Canopus and  Abobe (use Windows) are alternative systems. Matrox is a turnkey system using Adobe.
  • What file format to use? With 4:4:4 you record to DPX files and then downconvert. To a certain degree it all depends on the budget and scope of the film. DPX, QT, MXF, AFF, BMP and AVI are the most utilized file formats. 
  • NLEs utilize their own encoding compression codecs: Avid uses the DNxHD codec (AFF), Final Cut uses a QT codec.
  • Choose a system that fits the specific needs of the project. You can assemble workstations or rent turnkey systems
  • If you are shooting in HD it is best, if possible budget wise, to cut in compressed HD. And if you are shooting 24P (23.976), it is best to edit in 24P (23.976) - the frame rate it was shot in. Try to maintain the same shooting/editing workflow format. 

Data Rates & Formats

Below is a list of the HD formats. Looking at the MBps - MegaBytes Per Second - will offer a clue about what data storage capacity is needed (and image quality). This in turn will determine what equipment - i.e. budget - is required. 

  • HDV - 25 MBps (average)  
  • DVCPRO HD - 100 MBps  
  • HDCAM - 140 MBps  
  • D-5 - 235 MBps  
  • HDCAM SR - 440 MBps  & 880 MBps 
  • Single Link HD-SDI  - 1.4 GBps   4:2:2  (SMPTE 292)
  • Dual Link HD-SDI - 2.9 GBps  (SMPTE 372)
  • New Single  Link - SMPTE 424 - 2.9 GBps

 

Camcorders (F900/Varicam) vs.  4:4:4, 2K, Single Sensor

2K and 4:4:4 are definitely the wave of the future. At the moment however there are both pluses and drawbacks.

  • when shooting with single 35mm-sized sensors all the great film lenses are available
  • an uncompressed 4:4:4 data flow alllows you to capture the richest unaltered images for DI masters but uses a vast amount of memory storage space - think in terabytes.
  • there is no standarized post production workflow - it's being improvised as you read - but it is tapeless and based on files
  • dockable drives - mag-like recorders attached to the camera- are here - Genesis and Viper Venom FlashPak - but they can be heavy (Genesis) and they need to be downloaded frequently 
  • using HD-SDI links you will often be cabled to a recorder which reduces camera mobility - especially for Steadicam and car shots
  • uncompressed HD looks green, most productions use an on-set color correction device to get an idea of the "real" look  da Vinci
  • 2K and 4:4:4 systems are a lot more expensive and tech intensive
  • it takes time to set-up a smooth working system for each project
  • not everyone is comfortable working tapelessly  
  • not for indie filmmaking, yet  

  

HD  Basic Overviews

HD 24P - myths and facts about 24P 

Covers most aspects/issues of HD production that need to be considered prior to production. Compares 24P (23.976) with other formats.

HD Production Review

Covers many aspects of HD production with clear explanations of the technology and processes.

HD Pre and Post Production 

Explains basic formats and technology. Covers downconverting, offline and online HD, deliverables and digital standards.

DGA - 4 Indie Directors share HD pros and cons  

                                                         

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