Why HD?
There has been little evolution in the television picture for more than fifty years, the last notable development being the advent of colour.
A HD image is, above all, a panoramic 16:9 format picture. The 4:3 format is a thing of the past, and from now on we talk about the widescreen. High-Definition breathes life into the picture frame. HDTV is capable of supplying up to five times more information than a standard video image. Sound system enthusiasts will not be disappointed either. HDTV, like the Digital Video Disc, is designed to be used with a 5.1 multi-channel audio system.
A high-resolution medium with an excellent definition is required to display a large picture well. Flat screens, overhead projectors and video projectors give a large picture real meaning.
There is not one single, but rather several types of High Definition. It is important therefore to find out about the end transmission medium and to consult a technician to decide on the most appropriate format.

Why produce in HD?
HDTV already exists in Japan and the United States. Other countries, such as Australia, Korea and China are also heading in that direction. So, not producing high definition video means cutting yourself off from these countries and the consumer markets they currently represent.
Life expectancy of a standard video programme is now three times less. In other words, the useful life of a documentary or fiction, shot in standard video format such as Digital Betacam, is three years at the most. This is extended to ten years when the film is captured in HD. And eventually, it will be impossible to export your SD programmes, particularly if the aim is to store them.
HDTV means either filming in HD, or re-mastering - programmes formerly shot in 16 or 35-mm film - in HD. In many cases, restoring original video to HD will be necessary. You should therefore check what condition your film archives are in!

How does HD change filming?
Filming in High-Definition ensures outstanding picture quality compared to standard video. HD video is in direct competition with regular film footage. In practice HD shooting changes nothing. The only visible difference is the size of the control monitor which, as it is in 16:9 format, attracts the entire crew’s attention as well as the actors.
As with standard video, there are HD camcorders or HD cameras. It is therefore possible to film with several cameras. The cameras can easily be calibrated in relation to each other. The lenses developed for HD also result from the latest research by manufacturers in that field. Multi-camera OB vans are already available for HD production filming.
HD really comes into its own when filming sporting or cultural events (concerts, opera, dance, etc.). These programmes are the first to be easily exported.

How does HD change post-production?
The basic differences between HD and standard video lies in its size and resolution. Technical service providers are accustomed to managing video formats. The post-production teams in Club HD work as much for the cinema as they do for television. They have been familiar with panoramic formats and high-resolution video for some time now.
HD video is very appealing because extensive corrections can be carried out on it. It lends itself well to digital calibration and colorimetric correction. And post-production allows for more creativity.
High Definition provides a universal master that can be used in several media: TV transmission, DVD or cinema. Using a HD digital master also ensures quality archiving and conservation of video.

How much does HD cost?
It is true that on paper, High Definition is currently more expensive than standard video, but you should look beyond the cost and think in terms of usage. For example, renting a single film unit with the accessories required for documentary filming, represents a 20% difference in cost. However, the longer the shoot, the more this difference is smoothed out. The rental cost is certainly higher than for a Super 16mm shoot but there are many advantages. There is no longer any need for: developing negatives, sound synchronisation or telecine.
For a multi-camera shoot, the extra cost is around 20 %. An additional 15 to 20% should be anticipated for the post-production as well. Nevertheless, everything depends on the complexity of the work to be carried out, the use of special effects or not, computer graphics, 3D images, etc., all of which will be calculated more quickly. The advantages over standard video are immeasurable. Within 3 years the estimated difference in cost should be down to 10%.