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In no time at all, formats for HD recording
have multiplied. Although the mainstream format
for delivery of commercial broadcasting is
HDCAM, an infrastructure to accommodate
HDCAM-SR is also gradually coming into
mainstream. On the other hand, the SD format is
still being widely used for news coverage and the
introduction of non-linear HD media such as
XDCAM and P2 is being considered. As long as
the video is output as HD-SDI, interoperability is
possible.
It is not unusual for TV programs and
promotion videos to be shot and recorded with
cameras that use consumer HDV video formats.
Moreover, from the adoption of SD, real time
output from PC monitors was being recorded and
broadcasted. Of course, this method is also
effective in an HD environment. No matter how
quickly you may have embraced HD, however,
the advantages of non-linear editing are often
hindered. Whenever real-time multi-format
conversion is unavailable, you can suffer from
three types of loss.
In some cases today, production companies are
loading footage that needs converting to a non-
linear editing system (NLE), and using software
to convert to the desired format. This
methodology is not practical or an efficient use of
your NLE system. The process of loading each
time into the NLE, rendering with software and
then outputting may seem quick and convenient
at first glance, but in many it just ends up taking
more time than initially expected.
Conversion can tie up the entire NLE for long
periods of time, and results in a shortage of
temporary drive space and increases costs.
Moreover, converting using an NLE system is a
non-editing task that can unnecessarily tie up an
expert editor. Thus, all the temporary storage
space, which you need for a margin of safety
during conversion, can add significantly to
operating costs.
Monitoring various video formats is another
issue. A monitor compatible with the format of
the data needing conversion may not always be
readily available. HD video can be checked on a
PC monitor, but if you want to check output on a
projector or consumer TV, you can only use HD-
SDI or HDV.
In a fast paced production environment where
speed, ease of use and reliability are essential,
format compatibility can kill a project. As a
result, we tend to avoid dealing with formats we
are not sure about or we consider to be a hassle.
If your studio doesn’t deal with certain formats
you may find yourself turning down business.
The production side examines work right down
to the fine details and trouble avoidance is given
high priority. If you have long-term relationships
with clients, both sides know what the other can
and cannot do. Of course, this may seem like an
ideal way of working, but it can also mean loss of
future business by refusing new clients with
special format or conversion requirements. If
your company can only deal with a limited
number of formats it always runs the risk of not
being competent to deal with large projects using
formats beyond your capabilities.
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