You don’t have to shoot HD to work in HD.
True. You can continue to shoot on film and post-produce in high-definition.
Shooting on HD means I must deliver on HD.
False. The attraction of working in HD is the flexibility it offers to work in one or a combination of formats and media. You can shoot HD and deliver on film or traditional video.
 

How expensive is HD?
Cost comparisons are difficult, as each production is unique. On most high-end productions, the cost of the recording and post medium is only a small part of the total production budget. However, in some cases film-makers are considering shooting HD as opposed to film as it could be cheaper. Conversely, the cost of camera hire and post would be more expensive than Digibeta.

Can I create a new high-definition market for my back catalogue?
Yes, there is an international demand for HD projects currently greater than those in production. It is possible to remaster from the film negative, or to up-res from good quality video negatives.

Up-resing to HD looks the same for interlace or progressive images.
False. Up-converting interlaced images doesn’t work as well as upconverting progressive images. A good comparison is the ‘film mode’ effect used on some TV shows. The effectiveness of the result is dependent on the original material.

It is notoriously difficult to get HD cameras.
Initially, this was the case, but the situation has changed - camera manufacturers have started shipping in bulk to the European market and more lenses are available.
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