Do any TV channels accept HDV-based projects

Jason Nolte · February 22nd, 2007, 10:53 AM

I've shot shows that are currently airing on HD channels that were shot in HDV.

They were delivered in DVCProHD and HDCAM to the network.

Heath McKnight · February 22nd, 2007, 10:56 AM

Jason,

You're in the heart of the HD nets, incl. HDNet. I agree; deliver on an HDCAM or DVCPro HD tape, and I'm sure they'll happily accept it. I feel shooting on the Z1u or HVX200, there isn't visually going to be too much of a difference.

heath

Greg Quinn · February 22nd, 2007, 01:20 PM

Quote:

Originally Posted by Heath McKnight

You're in the heart of the HD nets, incl. HDNet. I agree; deliver on an HDCAM or DVCPro HD tape, and I'm sure they'll happily accept it. I feel shooting on the Z1u or HVX200, there isn't visually going to be too much of a difference.

I read somewhere in this forum that HDNet only accepts 1920x1080 (at acquisition time) content, which would limit it to F950's and the like, though I believe that they can accept a small percentage of HDV content within a show.

Heath McKnight · February 22nd, 2007, 01:38 PM

All 1080i/p HDV cameras, plus the HVX, go to 1920 x 1080 quite nicely. If not, then HDNet couldn't accept the F350's 1440x1080 or the HVX's 12080 x 1080 at all.

heath

Jason Nolte · February 22nd, 2007, 02:23 PM

Upconverted footage from an HDV with good glass that was well shot and lit can look remarkable. I've seen it back to back with footage from a fully dressed out native HD rig, and it's hard to tell the difference.

The bottom line is that if a programmer likes what he/she sees, they will accept it.

And with the fixed lens systems you mentioned, the converters with good glass that are out there are really getting great shots. They are nowhere near as portable or ergonomic as the betacam style ENG cameras, but it's a great economic pay-off. When producers can't tell the difference between shots from a $20k rig and a $100k rig, you know the lines have definitely blurred.

Greg Quinn · February 22nd, 2007, 02:38 PM

Quote:

Originally Posted by Heath McKnight

If not, then HDNet couldn't accept the F350's 1440x1080 or the HVX's 12080 x 1080 at all.

They don't, at least not for 100% project acquisition. As I understand it, they won't use non-in house material that hasn't been *captured* at 1920x1080, which rules out F330's and F350's recording HD to MPEG2. I'm speaking specifically about shows, I don't know about movies and HDNet.

February 22nd, 2007, 10:56 AM	#17
Heath McKnight MPS Digital Studios Join Date: Apr 2003 Location: Palm Beach County, Florida Posts: 8,531	Jason, You're in the heart of the HD nets, incl. HDNet. I agree; deliver on an HDCAM or DVCPro HD tape, and I'm sure they'll happily accept it. I feel shooting on the Z1u or HVX200, there isn't visually going to be too much of a difference. heath __________________ My Final Cut Pro X blog

February 22nd, 2007, 01:38 PM	#19
Heath McKnight MPS Digital Studios Join Date: Apr 2003 Location: Palm Beach County, Florida Posts: 8,531	All 1080i/p HDV cameras, plus the HVX, go to 1920 x 1080 quite nicely. If not, then HDNet couldn't accept the F350's 1440x1080 or the HVX's 12080 x 1080 at all. heath __________________ My Final Cut Pro X blog

February 22nd, 2007, 10:53 AM	#16
Jason Nolte Regular Crew Join Date: Jan 2007 Location: Denver, CO Posts: 29	I've shot shows that are currently airing on HD channels that were shot in HDV. They were delivered in DVCProHD and HDCAM to the network.

February 22nd, 2007, 02:23 PM	#20
Jason Nolte Regular Crew Join Date: Jan 2007 Location: Denver, CO Posts: 29	Upconverted footage from an HDV with good glass that was well shot and lit can look remarkable. I've seen it back to back with footage from a fully dressed out native HD rig, and it's hard to tell the difference. The bottom line is that if a programmer likes what he/she sees, they will accept it. And with the fixed lens systems you mentioned, the converters with good glass that are out there are really getting great shots. They are nowhere near as portable or ergonomic as the betacam style ENG cameras, but it's a great economic pay-off. When producers can't tell the difference between shots from a $20k rig and a $100k rig, you know the lines have definitely blurred.