2. Over christmas break I will do an overview of this past one
3. Heres my huge journalism project that Vanessa Fiorido was a guest star in
Revolution of high-definition technology; blessing or burden?
By Gianluca Inglesi
Word count: 1979
In 1954, the first colour television sets were introduced around the world, and audiences enjoyed their favourite programs in a more realistic display than ever before. In recent years, the entertainment industry is undergoing what some are saying is the biggest development since black and white screens were splashed with colour. They are referring to the switch from the typical standard definition image that we have been watching for the past 50 years to new high-definition technology in both television and film.
The high-definition (HD) image is said to be five to six times sharper than standard definition. Standard definition has 525 horizontal lines, which combine to form the picture, whereas HD has 1080. Furthermore, HD provides a 16 by nine inch format when standard definition only used a four by three inch format.
In simpler terms, the new HD technology provides viewers with a crisp and clear image that is far more detailed than it’s predecessor.
“When [colour TV] was introduced people had the same reservations [as they have with HD], saying it was fine the way it is, why do you have to throw colour up there. In the long term it’s worth it. Most people who watch HD say they would not go back to standard definition,” says Dana Lee, a professor in the School of Radio and Television Arts at Ryerson University.
HD has been in development for approximately 20 years, and there have been plenty of prototypes released over the years. Eventually the technology became too advanced for the analog signal that standard definition has been broadcasted over for years, so experts decided to support it on a digital signal. The ultimate goal has always been to get HD television in the homes of the world, and now with the introduction of HDTV and it’s digital signal, as well as new Blu-ray discs, this goal is closer than ever before.
However, the studios and consumers are equally experiencing the costs and pressure of the transition.
“Largely everything needs to be changed. All the technology needs to be taken out and replaced,” Lee says over the phone from his office, “We must think about the esthetics of a picture more than ever before.”
Video cameras, live-on-air production switchers, and equipment that generate graphics or effects, all need to be upgraded. Also set imperfections that previously went unnoticed are visible under the HD lens, and more thought has to be put into the design and construction to eliminate these flaws.
John Cordiner, Creative Services Director for A-Channel London describes how it will cost CTV $1 million for each over-the-air digital transmitter that is needed to send out the new digital signal. It will cost CTV an approximate $31 million to convert all it’s local TV networks across Canada.
“I have been in the business a long time and I have never seen things more volatile. It’s so interesting, and things are constantly changing in the television industry,” says Cordiner.
An ongoing debate that exists in North America is whether it is worth the money to change all analog transmitters over to digital since such a great amount of the Western population uses cable or satellite. The issue is predominant in Canada, where an approximate 90 per cent of viewers use cable and satellite as a dominant signal rather than the over-the-air transmitter.
“The answer is two fold,” says Lee, “Some say not to do it, and force people to get satellite and cable. Others say free over-the-air signal has always been understood, and the new digital signal should be the same. That the privilege is part of being Canadian and we shouldn’t have to pay for it.”
The transition is to be finalized in the United States by February 2010, but not in Canada until August of 2011, so there is still time for the argument to be played out.
An area that has seen some of the most drastic changes in terms of materials, tools, and techniques is the make-up industry. HD cameras produce a lucid image that unmasks actors and broadcasters, revealing blemishes, wrinkles, and the over-application of cover-up.
Rob Closs, founder and managing director of the School of Professional Make-up in Toronto explains how the increasing quality of imaging technology has forced artists to change their methods.
“[Previously], when things were shot on video the lights had to be extremely bright, and the make-up had to be heavy. It looked good on camera but out of the setting it looked ridiculous. We’ve been toning it down because image quality has been getting better.”
ET Canada, the Global network program, was one of the first Canadian news broadcasts that made the switch to HD. In order to maintain the appearance of their personalities Cheryl Hickey and Rick Campanelli they had to hire make-up artists to use airbrushing techniques versus the formerly used powder make-up.
Closs describes airbrushing as being around since the day of the caveman. As the story goes, the ancient people mixed dried fruit pigment with water and blew it through bones to make art. The technique was continued by the infamous Pin-Up girls and for movie special effects during the 60’s and 70’s. Over the past 12 years it has crossed over to beauty- a method that employs a compressor to lightly blow foundation onto the subject.
“It looks great, it’s quick, and it’s good for sensitive skin. An application that looks angelic. It’s like whipping butter, you’re whipping your foundation and it’s not compromising your coverage,” says Closs.
Closs describes that though the new techniques are effective, they come with a substantial price tag. He purchased his first compressor years ago from MAC Cosmetics for $850, with the average one selling for $350 dollars today. This does not include the cost of the foundation, and other cosmetics like mascara, eyeliner, and eye shadow.
The make-up industry is continually refining its products to make them compatible with the technology advancement, however Closs believes corporations may be taking advantage of the transition. Marketing by companies such as Smashbox Cosmetics or Dior’s High Definition Serum Foundation are claiming that their products are solely able to achieve a clear complexion on HD cameras.
“It’s not true. They are helpful, but I can take any conventional make-up and make it work on camera. It’s all in the application,” says Closs, “I think HD has made everyone in the business pick up their socks. It’s made us work harder at making people look better with less make-up.”
Airbrushing and the refined products are subsidizing the dilemma of imperfect appearances of actors and broadcasters on HD, however artists are still working out problems, such as using shiny lip-glosses.
“The Hi-Def cameras cannot pick it up properly, so when it is put on female broadcasters it appears as though her lips are about to drip,” says Closs.
When it comes to HD technology in film, consumers are curious as to what the new Blu-ray disc really provides over the DVD.
Vanessa Fiorido, a first year Rhetoric and Professional Writing student at Waterloo University and a self-proclaimed DVD collector-owning over 200 titles- is strongly against the transition. She doesn’t own any Blu-ray discs and doesn’t plan on buying any either.
“When VHS turned to DVD there seemed to be an actual upgrade. Went from big clunky cassettes to tiny portable discs. With DVDs you can skip scenes efficiently, do not have to worry about rewinding, and it comes with an abundance of special features, all of which were not available on VHS,” says Fiorido, “The only apparent difference between Blu-ray and DVD is the slightly better image.”
Fiorido has seen Dark Knight on both Blu-ray and DVD and claims neither made a difference on her viewing of the movie. She believes one of the main reasons Blu-ray has yet to be widely accepted by the public is the overwhelming price of both Blu-ray players and the discs.
Allied Business Intelligence (ABI) of the United States released a report in 2008 commenting that most consumers do not see a significant difference in quality between DVDs and Blu-ray, and Blu-ray sales figures from NDP Group compliment that idea. Between January and February of 2008 there was a 40 per cent drop in sales of the players. Blu-ray players were still costing over $300, with the cost only dropping to the $200 dollar range for this upcoming Christmas season. Though they are becoming more affordable, the price is still well above what DVD players are selling for, that can now be purchased for under $50.
New releases on Blu-ray can cost up to $40, which is almost double the prices DVDs have been reduced to.
Retailers such as HMV are selling brand new DVDs for less than 10 dollars, and have promotions in place such as two for $20 DVDs or TV seasons that were previously sold for around $60, for only $20.
“The only reason the public will switch to Blu-ray is if they are ever forced to. When new releases are only released on Blu-ray, then they will have to switch,” says Fiorido, “Even then, there might be a delay because so many people make personal copies on DVD discs by illegally downloading movies and shows and copying them to disc.”
Several studios are establishing deals to push Blu-ray sales while still making profit. A technique used by Paramount and Universal is grouping similar titles together based on genre or the movie star, and giving them a group price. Also, Disney and Fox have been including a DVD copy in the Blu-ray package. Their justification is that people who have invested in only one Blu-ray player can still enjoy the film on their DVD players, and view the movie in a car or portable DVD player.
Studios do not want the Blu-ray to exist alongside the DVD, but rather are seeking the permanent replacement of the DVD with the new technology. The European chairman of the Blu-ray Disc Association made a claim at the CeBIT technology show in Germany in 2007 that Blu-ray will have replaced DVD in three years.
“It’s just a business thing, I don’t see an improvement. Really they are trying to make DVD collectors like myself mad,” says Fiorido.
At the 2nd European HDTV Summit in 2005, John Binks, director of Gfk, a company that evaluates global markets said, “We have to be careful about consumer confusion. There is a massive education process to go through.”
Governments have made information readily available for viewers around the world. Blu-ray.com explains the advantages of Blu-ray discs and what they provide over DVD, and Dtv.gov and Ic.gc.ca are government run websites, which guide citizens of both Canada and the United States through the analog to digital signal transition.
An analysis of high-definition households released by In-Stat stated that at the end of 2008 there were approximately 36 million households worldwide that were equipped with a high-definition television set. They predict that this number will increase by at least 30 per cent by the end of 2009.
Cordiner explains that the success of HD TV and Blu-ray will depend on the consumer; “It all revolves around the consumer’s expectations. Now that they can get anything on HD, even sports, they will expect their news in HD. So we in the studios have to make it work.”
Similarly, both Lee and Fiorido agree that the effectiveness of the transition largely depends on what people think about while they’re watching.
“If they are watching a movie for story or plot they may not pay as much attention to the picture. But if people are looking for a crisp, clear image, they will go out and get the Blu-ray,” says Lee.
“When you watch classics, you never get that crystal clear image, but that doesn’t compromise quality. I don’t care about extra megapixels if the movie or show is garbage,” says Fiorido.
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