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Technology and the debate are constantly changing - and this isn’t the place for a great deal of detail . However, one thing never changes. Beautifully lit, well-composed, correctly exposed shots (with highlights kept under control - always a danger with electronic cameras) will always look better than badly-composed, badly exposed shots. Good HDV - and even good DV - will look better than terrible HD.
But, all other things being equal, it’s naive to think that a £4,000/$7,000 camera can outgun one costing ten times as much. Results might be difficult to tell apart on DVD or normal TV sets, but the quality of the lens alone (never mind the recording system) will show on anything bigger.
It is true that you can get astounding quality for very little money - and the quality at the low end is improving all the time. But so is the quality at the top end.
Is HDV “true” HD? It depends who’s asking. Taking their lead from the Discovery Channel and the BBC, hardly any broadcasters accept anything more than tiny amounts of HDV in programmes. The Sony Z1 is now widely used in the BBC and elsewhere - but as a Standard Definition replacement for the PD170, because the Z1 is a true 16:9 camera (see below). What do we think? That if HDV is the best you can afford, then it’s certainly better than what went before, but the same arguments over lenses and shooting quality still apply. Which is why the “true” HD Panasonic camera at the same price point is no better than a Z1. The signal it records is much better than HDV; but it’s still a cheap camera with a cheap lens. Arguably the true HD entry point is the recently approved by Discovery XDCAM HD, with a price matching the DSR570 range - around £9,000/$17.000.
We’ve acquired a lot of DV experience over the last few years, and we just know that a camera like the Sony DSR 570 or the Ikegami DV7, (an £8,000/$14,000 value) with a £12,000/$20,000 lens produces much better results than a £3500/$6,000 PD170 or similar. As an example, here’s a production case history for the series Takeaway .
Widescreen (16:9) is a supplementary can of worms. This piece, by equipment hire boss, Barry Bassett gives an expert’s explanation of widescreen DV.
New technology is making things possible in terms of digital cinematography, and low-budget and difficult access TV production that were unthinkable quite recently. It’s all magic - but be honest with yourself about what you can really achieve...
Want to read more? Some useful links:
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