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it s shot And that s not a surrogate; it s not film photochemically processed and then telecined to cheesy video and then hand-carried down 24 to 36 hours later We don t have to wait for photochemical processing, we don t have to wait for it to be hand-carried through customs, we don t have to worry about the negative being scratched or damaged, we don t have to take time for telecine We can just get it directly here, and work with it here Our postproduction is all done here, all our editing is done here It s immediate right now the actual shot, all the data, so you could literally cut it in and air it So, in theory, if we were under the gun in an episode, and we had a second unit shooting some inserts or some close-ups, or a new scene, or a change the network requested, and we literally had already mixed the whole piece and had just slugged in for those things, we could drop them in and air that day or the next day We don t want to have to cut it that close, but it does give you certain options CDC: You could be in LA watching them shoot in Vancouver Cameron: I m not sure that we d want to maintain an open link, given the data costs We ll certainly use it to send the actual finished shot to us We may maintain an open link for standard-def video, but we could certainly have an HD open link for discussion of, say, lighting, or makeup, or some things where you need to see the actual image as it appears to the camera We could do that CDC: Did you think 24P HD could surpass IMAX Cameron: I was skeptical for a long time that HD would ever equal 35 mm film as I knew it And I think that s behind us at this point Then the question became Well, what is its potential What is it the equivalent to And it took a while to really find out We had to keep filming it out to successively larger formats We did 70 mm, and then we did IMAX I think where we are right now with the 2/3-inch chip, the 22 million-pixel chip that is the heart of the Sony 900 cameras, is that we re not truly the equivalent of IMAX 2D, but we are a very, very good equivalent to IMAX 3D
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INTERVIEW WITH JAMES CAMERON: 3D DIGITAL HD
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I say that very specifically, because if you have two cameras shooting side by side, each one gathering 22 million pixels of data, then what you re really displaying to the human visual cortex is 44 million pixels of data, and that s plenty, that s more than you need And it produces a very, very good analog for human vision, or a surrogate for human vision CDC: What are the financial advantages of using digital 24P HD instead of film Cameron: Well, I think there s different ways to look at HD from a financial perspective Whether HD can produce a huge savings in the cost of standard production right now, I m not sure We haven t really run the numbers in a side-by-side comparison for a feature motion picture with a full package of, let s say, Panaflex cameras versus a full package of, say, F900 cameras, or F950 cameras My guess is they re going to be fairly equivalent That s not really where your savings are; I think it s really more in the manner in which you shoot, the speed of your photography, the speed of your lighting set-ups, the fact that you don t have to go back and shoot anything again because you ve got it You don t have to worry about film getting lost or damaged, or processed incorrectly, scratched, all that sort of thing You don t have to worry about the lighting, the exposure not being correct because you ve seen it So I think that probably over the length of a movie I would guess there might be an incremental speed-up in the overall production process Whether that s 5 percent of 15 percent I can t say right now, not having gone through that entire cycle But I think there s another way to look at it, too, which is that the things that make the most sense on films, financially, are those things that allow the film to make the most money Because it doesn t matter if you have a dog movie that costs 5 percent less What really matters is that you have a movie that people want to see So whatever enhances your artistic process as a filmmaker is an enhancer to the bottom line of what the film will earn because you ll make a better film People will like it more, they ll go see it again or more people will go see it and you ll make more money And that s really the way this
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