SD Filmmaking In a World That's Turning HD

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I'm a proud owner of the DVX 100a, but I have a question that weighs heavy on me. Much of the HD footage that I have seen from the HVX, HD100, XLH1, and the Z1U have looked phenomenal. In the wake of the quality that we are seeing from these new cams, do you believe that the talent of the SD filmmaker will soon become overshadowed by the fact that his image may not look as good as an HD production? Especially in a film festival setting.

I know that their will always be some who have the greatest camera in the land but may not understand how to properly light a scene, or whose story doesn't hold up. And on the other hand, I've seen amazing stories and shot composition from a 1 chip. What I'm talking about here are two filmmakers of equal grasp, one SD the other HD. In this scenario, does the talented HD producer have the advantage due to the aesthetic quality of his grabs from his great story or do you believe both production are viewed as equal. In my case, since I don't have an HD camera, I would hope it would solely be based on execution of the story.
 
That is the $64,000 question.

I tend to think that it still comes down to production value, story, casting, etc.

A good movie is so much more than the technology, however it's similar to the battle of film formats. If you shoot on 16mm you are considered not as professional as if you shoot on 35mm. Now if the 16mm filmmaker makes a far better movie than the 35mm person then the lines get blurred.

The real problem is that we all think that we can make exceptional movies, and then convince ourselves that the format then wouldn't matter as much...if people see the esthetic value. All this really brings us around to the original question with no real clear answer.

I posted a thread just a few minutes ago that deals with the same internal question and I think the answer i'm looking for and am afraid to say is "just do the absolute best you can with the tools you have and let the rest work itself out". All we can do is our best anyway. If that's not good enough is a subjective issue.

Man, I should be a politician for my ability to talk in circles.

JASON FOR PRESIDENT
 
A brilliant film on a lousy format will trump a lousy film on a brilliant format, any day of the week.

But a brilliant film on a brilliant format will trump a brilliant film on a lousy format.

I mean, filmmaking isn't about the tool you use. But filmmaking is a profession, and like other professionals, professionals use the best tools available to them.

Seriously, a master carpenter could probably build a better house than I could, if he used a $2 cheapo hammer and I used the best.

But when's the last time you saw a master carpenter using a cheapo $2 hammer?

If you gave Roger Federer a $3 Toys 'R' Us tennis racquet, and I used a $500 premium racquet, who do you think will win? Federer, of course. But with that said, what kind of racquets does Federer use? He sure doesn't show up to a match swinging $3 Toys 'R' Us racquets!

Point is, do the best you can, using what you can, but if you can use a better tool (and you have the skills to get the best from that better tool) then use the better tool too.
 
Thank you for your insight, it is greatly appreciated and I feel the same way about this. I still can't help from questioning my SD efforts from now on. I suppose what it boils down to is if you have a powerful need to create, you'll just do it regardless.
 
Barry_Green said:
But a brilliant film on a brilliant format will trump a brilliant film on a lousy format.

I mean, filmmaking isn't about the tool you use. But filmmaking is a profession, and like other professionals, professionals use the best tools available to them.
Click to expand...

I agree. But I'm still waiting for an HD that is affordable but still accepts prime lenses natively. The Sony XDCAMs are the closest affordable option so far, but I'm not sold yet.

And then having the money to buy a new HD camera is another thing. It's just like Bill and Ted's problem. HD = better work = more money = HD, etc.
 
I think HD is overrated for anything below guaranteed theatrical or pre-sold
cable/network :) In fact, its serious overkill for the indie production. Effects,
color correction and just overall workflow are still at a premium for HD. I'd
rather shot 3x the coverage, get that perfect take, get MORE for my vfx dollar
at video (read: realtime) rez and tell a killer story than worry if someone is
going to be able to rent a blu-ray HD version from Netflux 2.0 (where you sold
them 8 copies total).

Get your film in the can, get some interest and shoot the *next* film in a
better format with someone else's money. I'm with Barry... garbage is
garbage, no matter the format, but HD really isn't going to open a door
for you if the quality isnt there.
 
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