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CHAPTER TWENTY-NINE
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CDC: What do you perceive the differences will be between HD and film What benefits do you think HD will have Cameron: The way I see it, if you re shooting in a regular studio environment with cameras on tripods, or on dollies, or on cranes reloading is not that big a deal It s a little bit of an encumbrance; you ll do four or five takes and then you ll have to reload, and it can break your energy Obviously with HD, using a camcorder, it s almost an hour between reloads with a VTR it s two hours You re not breaking your energy, you re just flowing with it, and that s nice You have the immediacy of actually analyzing the image that you re creating at the time You can experiment with filters, with lighting, you see it in a very immediate sense, and you don t have to wait until the next day to see how it came out, which I like a lot because I like the ability the freedom to experiment without having to be too conservative And I think another of the really big advantages with HD is one that really hasn t been explored very much, but we re looking into quite a bit, which is the fact that with film cameras
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Creating Digital Content: How would you describe the difference between film and digital HD James Cameron: HD is much more immediate You don t have dailies, so dailies are a thing of the past You look at the monitor, and what you see is what you re getting So you can fine-tune the lighting and make all your decisions in the moment This, in a way, changes the normal paradigm of photography because now the director is directly involved in the cinematography, which some cinematographers may welcome, and others may not like because there s always the possibility of recriminations the next day at dailies: Hey, how come you didn t have more fill light I can t see her eyes, etc HD is an opportunity to avoid that unpleasant aspect of the process Of course there are a few cinematographers who are so good that it s always perfect the next day But if you re not in that 1 percent I think it s good to have a dialog with the director or the producer whoever the other creative force is if it s television or if it s film and have that dialog at the time when you re looking at the monitor, and get exactly what you want before you walk away from that set-up
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INTERVIEW WITH JAMES CAMERON: 3D DIGITAL HD
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you ve got to have a magazine And the magazine is your film, the medium that you re recording to, that has to be physically adjacent to the lens and to the movement that drives the film It s an ancient system; it s a hundred-year-old paradigm With HD now that it s a good replacement for film in terms of image quality you have an imager block about this big [Cameron holds up his hands to indicate] and you have a lens That s all you really need at the place where the rubber meets the road, where the actors are, or where the scene is happening The rest can be put further away So now the opportunity for lightweight stabilization systems, lightweight body-mounted camera systems, aerial photography, car-mounted photography all these things, I think will be increased dramatically We should be able to do a lot more with a very flexible, fluid moving camera than we ve been able to do in the past because the physical size of the camera is very small With the 3D system that we re developing we have two HD cameras side-by-side, and with lenses, and servo motors, and everything else the entire package can go on my shoulder, weighs 195 pounds, and is solid And it can actually replace a 3D IMAX camera, which weighs 329 pounds We ve proven this by taking the output and blowing it up to IMAX, projecting it in a theatre with the glasses on, and having a really beautiful image experience CDC: You ve spent a lot of time getting information from other folks Cameron: We spent a year working with Sony developing our specialized 3D camera system, in the process of which we ve done a lot of testing with the 24P 900-series cameras, both the HDW-F900 the camcorder and the C950 the studio model And we ve looked at the results on tape, projected through HD projection, and filmed out to 35 mm film and projected, and filmed out to 1570 IMAX format 3D and projected, and I m completely satisfied with the results I think the question that s been bothering everybody for the last ten years is When is this going to be mature When is HD going to replace film The argument has been When is it good enough to replace 35 mm
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