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Digital Broadcasting.com reporter Claudia Kienzle examines the new emerging market for HD – independent film.

Low-Cost, Hi-Res
Is Film Dead?
Hollywood's Latest Threat?

HOLLYWOOD, CA — While the commitment to HDTV by broadcasters is weaker than hoped, demand for HD is red hot among independent filmmakers who say it is empowering their art and quietly revolutionizing the movie business.

For anyone with a burning desire to see their movie idea on the screen, the challenge has been to convince dealmakers at the movie studios that your script or concept is worth their investing millions to make. Because of the steep costs associated with film – in the majority of cases – only major studios have been able to finance, produce, distribute, and profit from movies, and consequently, have acted as "gatekeepers" to the cinematic medium.

Low Cost, Hi-Res (Back to top)
One case in point is "Nicolas," the first American movie to be produced entirely in 24P HD (1080-progressive at 24 frames per second), using Sony's HDW-F900 "CineAlta" 24P HD camcorder outfitted with Panavision's new Primo Digital Lens. Beyond that historic first in American cinematography, Nicolas" is also noteworthy since its producer, director, and writer Peter Shaner found that HD helped him finally realize a movie he had been trying to get made for ten years.

For about $100,000 versus millions, Shaner self-financed the movie by organizing a Limited Liability Corporation which accepted small investments from friends and relatives. "Nicolas" will be edited in 24P HD at APS, in Los Angeles, then transferred from HD to 35mm film at Efilm in Hollywood for showing at the Sundance Film Festival and cinematic release in 2001.

"24P HD allows independent filmmakers to make movies in ways that studios have been making them for years, but as an independent filmmaker, you never could afford to," says Shaner. Described as a supernatural thriller, "Nicolas" is the story of a young woman named Laura (Gretchen Eglof) who rekindles her romance with Nicolas (Marcus Graham), a lover from her past life in the 1800's who she meets again through her dreams.

The opportunity to join the crew of this historic cinematic production enticed B. Sean Fairburn, SOC (Society of Operating Cameramen) to pass up lucrative, high-profile camerawork to serve as a camera operator and video engineering consultant to Steven Douglass Smith, the DP, whose background was largely traditional filmmaking.

"24P HD is going to be pivotal and revolutionary for the entertainment industry," says Fairburn. "Judging by the phenomenal picture quality and performance demonstrated by this equipment on location, I consider 24P HD to be the apex of electronic cinematography."

Is Film Dead? (Back to top)
In the last year, several HD-originated movies have been produced in 1080-interlaced at 30 without the backing of a major studio or distributor, including "Last Mountain" by filmmakers Alina Szpak and Robert Fleet; and "ivansxtc" by filmmakers Bernard Rose and Lisa Enos. In both cases, these people came from traditional film but now choose to shoot their movies in HD for its economic advantages, portability, immediacy, and picture quality.

As an active proponent of HD moviemaking, Bernard Rose has gained notoriety through his "Film Is Dead" mantra. To Rose, "HDCAM is not just a camera, it's a catalyst for change in the motion picture industry. The economics of shooting with a Sony HDCAM camcorder makes it possible for us to self-finance "ivansxtc" (pronounced Ivan's Ecstasy.) Our budget was low enough to qualify for the Screen Actor's Guild's "Limited Exhibition" status, but yet production values were not compromised."

Rose adds "HD's crystal clarity was evident in both daylight and nighttime shooting so I didn't need throngs of lighting technicians and gaffers common to film sets. I was also spared the expense of film stock, lab processing, color timing, and film to tape transfer—and there was no penalty to letting the cameras roll until I captured the best performances." And the portability allowed him to shoot the entire movie – a fictitious drama about a Hollywood agent named Ivan Beckman facing poignant personal challenges – ENG-style as the single cameraman.

Portability allowed Alina Szpak's cameraman to carry an HDCAM camcorder and tripod into a National Park to shoot scenes for "Last Mountain." "The National Parks greatly restrict filmmaking—they don't take kindly to the vehicles, tracks, dollies, big crews, and electrical generators typical of film shoots," says Szpak. "But with HDCAM, I had a crew of less than 30 people, so there was no trouble getting permits."

She adds that reloading HD cassettes every 40 minutes was less disruptive to the creative mood than film's magazine changes every 3 minutes. And the CD quality sound recording on the camcorder eliminates need for external DAT recorders, audio technicians, and post sound to picture synchronization. Szpak says, "I always wanted to make a big studio-style movie but I didn't have the money for that. But HD is making this film possible."

Hollywood's Latest Threat? (Back to top)
Rose and Szpak think the Hollywood establishment feels threatened by HD and views the medium with suspicion because they recognize it can undermine the established structure and power base of the business. And while both love film, they feel that filmmakers like themselves will be inexorably drawn to the HD medium for its exceptional picture quality coupled with attractive economic incentives. The momentum is underscored by Sony's recent strategic alliance with Panavision to interface HDCAM with Panavision lenses; and by the way that Panasonic focused its HD marketing efforts on Electronic Cinematic production at NAB.

"HD is a major revolution that will change the motion picture industry. Independent filmmakers with creative, innovative ideas will no longer have to face an army of checkbook-wielding studio executives to get their movies made," says Rose. "HD has the potential to free filmmakers from the stranglehold of Hollywood's elite deal-makers who spend their days homogenizing story concepts to fit their narrow view of the movie-going public."

Claudia Kienzle has been writing for the broadcast industry for over a decade. She can be reached at claudiakienzle@mindspring.com. (Back to top)