This
edited version of these documents speaks for
itself:
Section of Playback article on the Local Heroes
HDTV Seminar (Mar 20,2000):
“Canadian Digital Television's Michael McEwan
was a keynote speaker at the festival. He stressed
that emerging and veteran producers alike should
begin shooting in formats that can be converted
to hdtv (16mm and Super 16 are not convertible)
so that their libraries have a long shelf life
in export markets such as Europe.”
Email from Richard Stringer to Michael McEwen
(March 27, 2000):
“Michael: I was going to write and comment
on your luncheon talk which I attended in Winnipeg
March 4th. I wanted to say that I feel you should
generalize a bit more when talking about Super
16mm to HDTV distribution. You have to admit there
are markets out there which have no problem with
Super 16 HD product and some producers, especially
on documentaries, prefer to use 16. But your talk
seemed to veto Super 16mm as a possible contender
and I feel that is unfair and you should mention
that there are markets out there for 16. In the
meantime, Playback Magazine has edited your statements
so that it sounds like you couldn't even transfer
Super 16 to HD tape ("not convertible").
I felt that this was too much out of context so
I am sending a letter to the editor. But I hope
you realize how a blanket statement from your talk
can become misinterpreted. I do agree with your
comments regarding 35 or HD being the best options
when talking about high end productions, but there
are so many others levels of producers that attend
your talks that I feel you should explain the range
of standards a bit more.
This is my letter to Playback: (March 27, 2000):
I have a comment about Cheryl Binning's article
in Playback's March 20 issue on The Local Heroes
Festival in Winnipeg. She quotes one of the HDTV
showcase speakers - Canadian Digital Television's
Michael McEwen - as saying that "Super 16mm
is not convertible" to the HDTV format.
I was at the luncheon speech given by Mr. McEwen
and he said that the Super 16mm format would
seriously limit your HDTV distribution potential
and that producers should only originate on 35mm
or HDTV video. I find both McEwen's statement
and especially Playback's simplification of it
too generalized and misleading.
I believe McEwen's comment is based on the CBS
network's opinion that Super 16mm has undesirable
qualities for transfer to HDTV. An important
clarification here is that CBS would actually
accept Super 16mm under"prior arrangement" which
means so long as you can justify its use, as
with a nature documentary. This is also one opinion
from one network on a very debatable subject.
If Super 16mm is shot properly and transferred
with care it can look better than a neglected
35mm HD transfer. I saw a Super 16mm PBS documentary
for "American Experience" transferred
on a Spirit scanner at Toronto's Toybox to HD
and the pictures were impressive. Documentary
producers prefer 16mm for its portability. I
co-ordinated a film vs. HDTV test for the CSC
and I feel that 16mm did very well, especially
with lower ASA stocks. I realize if a producer
wants to cater to high end HDTV distribution,
they would be wise to follow McEwen's advice
and choose a format like 35mm film, but in my
opinion, McEwen should realize he is talking
to a broad range of producers and perhaps he
should clarify that Super 16mm has a place in
many genres and HD markets. For Playback to say
that Super 16mm is "not convertible" to
HD is just not accurate. I certainly do not want
to promote low standards, but I believe there
will be many HD distribution outlets which will
have no specific origination specifications,
but rather they will judge a show on content,
within the context of image acceptability. Richard
Stringer CSC”
Email reply from Michael McEwen to Richard Stringer:
“Dear Richard, Thank you for letting me know
your views and the Playback letter. You may well
be right that for some genres super 16 may work
out. My concern is that if a producer wants to
insure a long shelf life and availability to all
markets then they should shoot with the highest
quality, and with more and more electronic shooting
that will be an HD CAM. My sense of things to date
is that producers haven't given this as much thought
as they should and they need to carefully consider
the options. All the advice I'm getting from the
US is that to be safe the production community
should be using 35mm or HDCAM. NBC and ABC have
yet to start airing anything beyond sports, movies
and Jay Leno. Fox hasn't made up their mind, and
although there have been
exceptions. PBS does advise shooting at the highest
quality giving them the option of full HD or
down converting. What really worries me is that
most of their libraries are 35mm and can be cheaply
converted to HD and that just may freeze us out
of the game unless we start planning now. This
and other issues will be taken up by the Production
Working Group and I will of course defer to their
wisdom and direction. Once again my thanks, even
though you think I was a bit overboard at least
we're getting a dialogue going. Regards, Michael”
Email reply from Richard Stringer to Michael
McEwen:
“Michael: Thanks for your reply, I think
we should not jump to conclusions and we should
wait and see how Super 16mm does in the HD marketplace.
I myself am more concerned about people trying
to up-rez NTSC widescreen pictures to HD. Although
the door should always be open to independent producers
who do very creative things with small formats.
I myself just won a CSC award and got two Gemini
nominations for shooting “Exhibit A” a
Mini DV format show for Discovery. I appreciate
your concerns but please remember there are a variety
of production genres which suit Super 16mm, especially
documentary, and it would be great if you could
supplement your talk to include some support for
those shoots as well as Super 16. Already Command
Post’s Toybox is transferring 5 one hour
docs including “Lost in the Grand Canyon” (WGBH
American Experience) for PBS from Super 16mm to
HDTV.”
Last Reply from Michael McEwen:
“Richard, Fair enough......consider my remarks
amended. Michael”
|