Note the two resolutions we discussed in the HDV section above. Do those two final numbers--720 and 1080--look familiar? They correspond to the two main HDTV formats: 720p, a progressive scan format with 720 vertical lines of resolution, and 1080i, an interlaced format with 1080 lines. The debate as to which is superior is on with no clear winner (well, each manufacturer will tell you the format they have settled on is king, of course).

Now we're seeing HDV consumer camcorders enter the market with Sony's HDR-HC1. For a few thousand extra bucks Panasonic, JVC and Sony make prosumer models in either 720p or 1080i. We expect the market to flood in the next two years as whispers of a Canon contestant as well as HDV cameras from the other manufacturers can be heard everywhere.

Though standard definition is stronger than ever today, that is scheduled to change soon, as federal regulations, and plain old advancements in video are pushing broadcast, cable and satellite networks to provide more widespread programming in the high definition spectrum.

Now, even with all these fancy advances in video technology, it still comes down to lighting it right, and shooting with the best quality acquisition format that your budget will allow. Whether you're shooting regular DV, DV50, D9, Digital Betacam or HD, the basic rule still holds. You have to light it right, or it will be flat video.

If you look at the film November, which was shot 24p DV on a Panasonic AG-DVX100, or The Anniversary Party, which was shot interlaced on Sony full-sized professional DVCAM, you see that it's the lighting that makes the difference, not the acquisition format.

You also have to look at the amount and type of compression, how it fits into your overall workflow, and a lot of other factors. This is where knowing with whom you're going to do final post up front makes a huge difference. If you're working with top-notch post people, they'll be able to tell you the problems they're seeing with the final products in each of the formats, so you can make an informed decision for your individual project.

If you're doing it all in house, you need to look at your own cost/benefit issues. What really matters is what your final master looks like, and whether you meet your client's standards.

James DeRuvo is producer and editor for a broadcast production company.