HDV: High Def Value

Paul Suchecki
Special Issue 2006

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If you're eager to leap into High Definition production, but prefer to limit your six-figure purchases to real estate, then HDV is for you. In the same way that Mini DV revolutionized standard definition shooting, the not quite four-year-old HDV format is doing the same for Hi-Def. Affordable HDV is available today, but myriad variations can confound a buyer.

At first glance, you might suspect that the video princes have sidestepped their usual format wars. HDV was created by a partnership of Canon, Sharp, Sony and JVC. Much is in common. HDV records in MPEG-2 on Mini DV cassettes. The aspect ratio is wide screen 16:9, while the output is 1080i (1080 pixels horizontally scanned interlace) or 720p (720 pixels scanned progressively). The tape run time for HDV is the same as for Mini DV, so your 63-minute cassette will last more than an hour. Since the throughput of HDV tops out at the same data rate of DV tape, video can be readily loaded to an edit system in real time via FireWire.

However, there are differences: HDV1 from JVC records at 19 megabits per second in MPEG-2 with a resolution of 1280x720 pixels (progressive). HDV2 from Sony and Canon records in MPEG-2 at 25 megabits per second with a resolution of 1920x1080 pixels (interlaced). If you shoot JVC's HDV1, you won't be able to transfer through FireWire from a Sony HDV2 deck or camcorder. Sony's HDV doesn't play back on JVC either. Canon adds to the compatibility issues with an "F" setting on its camcorders that won't play back on either a JVC or Sony deck. In practical terms, this means that you'll either be digitizing directly from your camcorder or committing to HDV1 or HDV2 for your complete production and post chain.

Professional HDV camcorders are now available from Canon, JVC and Sony.and Panasonic released its AG-HVX200 DVCPRO-HD this year. Let's break down what the HDV cams share and how they differ, beginning with three 1/3" CCDs. These are much smaller than 2/3" professional Betacam or HDCAM camcorders.

The shorter focal lengths of HDV give greater depth of field, which helps ease the critical focus issues with shooting in Hi-Def. It's an asset for run and gun ENG style shooting. However, some videographers are going to be using HDV for digital cinematography. Since much of the "film look" is due to a shallow depth of field, you'll need to pick up a set of neutral density filters to cut down on light, thus opening your iris to better isolate your subject against soft focused backgrounds. This is where a matte box proves handy, giving you a choice of options, like gradients to take down the exposure of the sky. Another way to emulate film is to use a prime lens, which is usually sharper than a zoom. For this, you'll need a camera that offers interchangeable lenses (Canon and JVC at present). There is less tolerance for bad focus, because the HD image is noticeably sharper. All the top end, HDV cameras offer both electronic viewfinders and external LCDs, but they go further, offering peaking enhancement in black and white viewfinder mode so that in-focus elements are tinged with color. Sony allows a camera operator to temporarily double the center of the image for a quick focus check.

HD cameras allow you to monitor with standard definition field monitors. However, for critical applications such as an ultimate transfer to film, get a portable HD monitor. Very good LCD options are available.

Shoulder mounted cameras are easier to handle during extensive handheld shooting. When possible, get a camcorder with XLR inputs for your mics. Most HDV camcorders will allow the user to shoot in NTSC DV as well as HDV. Sony's HVR-Z1U also plays back in DVCAM, 1080 50i and PAL. The Canon can record to PAL with an optional upgrade.

"Film look" is a combination of lighting, low depth of field, wide exposure latitude, camera moves defined by prime lenses, and finally 24 progressive frames. Sony uses a CineFrame Mode that replicates the look of film with a 3:2 conversion of internal 1080i that works by throwing away a field of data. Canon has a simulated progressive capture mode that's designated "F." It works by interlaced scanning twice in the time of a normal field. Compared to true progressive, this process does create some artifacts. JVC's HDV1 actually uses genuine 720p 24-fps recording, making it the far better camera to use if film is the ultimate destination for your show. You can export directly to a film style edit system without converting the frame rate.

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