(continued...) Corresponding to Super 16mm The next step up in quality, Super 16mm is roughly paralleled by such higher-quality Standard Definition (SD) 4:2:2 digital formats as Sony's Digital Betacam, JVC's D-9 and Panasonic’s DVCPRO 50. Also in contention is Panasonic DVCPRO 720P. Compared to the earlier set of DV variants, the 4:2:2 Standard Definition formats feature higher recorder bitrates and increased color resolution with little or no digital pre-filtering and milder compression. The four formats also present a mix of quarter-inch tape (DVCPRO 50 and DVCPRO 720P) and half-inch tape (Digital Betacam and D-9). While the quality of these digital formats is technically higher than our DVCAM example above, the stock cost for shooting on Digital Betacam is comparable. As a result, Digital Betacam is also about 97% less expensive than Super 16mm stock, developing and dailies. Once again, digital all but eliminates these costs. Digital Betacam camera rentals are also less expensive than Super 16mm, but by a narrower margin–about 26%. Super 16mm Digital Betacam Stock Eastman 7293 EXR 200T Sony BCT-D40 Feet 400 791 Minutes 11.11 40 Cost $126.56 $27.99 Stock Cost/Minute $11.39 $0.70 Developing/foot $0.14 $0.00 Developing/Minute $5.04 $0.00 Video Dailies/foot $0.18 $0.00 Video Dailies/Minute $6.48 $0.00 Total Cost/Minute $22.91 $0.70 Digital Savings 97% The media formats are different but the result is the same. Digital Betacam media is about 97% less expensive than Super 16mm. Super 16mm Digital Betacam Camera Rental, average of prices in New York, Chicago, Los Angeles Aaton XTRProd, Arriflex 16SR-3 or Panaflex 16 Sony DVW-700WS Rate Card daily rental, including batteries, charger, AC power, lenses, tripod, fluid head and (for film cameras) color video assist. $1,310 $967 Digital Savings 26% While the prices are closer, there's still a 26% cost advantage renting Digital Betacam versus Super 16mm. From productions like Warm Blooded Killers to Buena Vista Social Club, Digital Betacam has become another tool in the DP's kit. The Digital Doppelganger of 35mm With its full 1920 x 1080 CCD sampling combined with progressive scanning at the film rate of 24 fps, Sony HDCAM 24P stands alone as the point of comparison for 35mm film. It was after shooting "Star Wars: Episode 2" on Panavision prepared Sony 24P cameras that George Lucas declared he would "probably never shoot another film on film." 35mm HDCAM 24P Stock Eastman 5293 EXR 200T Sony BCT-40HD Feet 400 791 Minutes 4.45 50 Cost $220.20 $79.95 Stock Cost/Minute $49.48 $1.60 Developing/foot $0.14 $0.00 Developing/Minute $12.58 $0.00 Video Dailies/foot $0.09 $0.00 Video Dailies/Minute $8.09 $0.00 Total Cost/Min $70.16 $1.60 Digital Savings 98% At the top of the heap, HDCAM 24P media is about 98% less expensive than 35 mm. 35mm HDCAM 24P Camera Rental, average of prices in New York, Chicago, Los Angeles Aaton 35-3, Arriflex 535B or Golden Panaflex GII Sony HDW-F900 Rate Card daily rental, including batteries, charger, AC power, lenses, tripod, fluid head and (for film cameras) color video assist. $1,958 $2,154 Analog Savings 9% The rental price of the 24P camera is close to that of 35mm film cameras, depending on the specific packages you compare. On average, film has a 9% price advantage. While the captured image quality for HDCAM 24P is significantly ahead of our previous contenders, the economics for media are essentially the same. The cost for stock, developing and dailies is cut this time by about 98%. In camera rentals, however, the HDCAM 24P runs neck and neck with 35mm film, depending on which specific packages are being compared. On average, 35mm film cameras cost 9% less to rent. In addition to effects-driven science fiction productions, the HDCAM 24P system is beginning to find its way into the indie scene and some mainstream theatrical features. Alexandria, VA postproduction facility Roland House specializes in high def post and also invests in indie productions. CEO Fritz Roland declares, "High Definition will make low budget filmmaking a reality. It will really open some doors. For high budget features, it's completely academic. But at less than $50 million, you'll begin to gain a great deal." For writer-director Rodrigo Garcia, the Sony/Panavision 24P camera was an easy choice. "I had a total budget of $100,000 for Ten Tiny Love Stories," a production for the Independent Film Channel, intended for theatrical release. Steven Douglas Smith was the first director of photography to complete a feature, "Nicolas," with the Sony/Panavision 24P camera. He has since used the camera to shoot two more: Swimming Upstream and an effects-driven action-adventure, Coronado. He says that the lower media costs of digital were crucial to the first two movies. And he estimates that the Coronado production saved $1 million on potential film processing and scanning fees by shooting in 24P. In contrast, budget was no concern at all when director of photography Emmanuel Lubezki selected the Sony/Panavision camera for nighttime scenes in "Ali." Michael Mann directed the movie, which stars Will Smith as Muhammad Ali and is scheduled for October release. "We went location scouting at night with a still camera and a DV camcorder. I noticed that the DV camcorder could get a terrific look at night, with amazing detail in the shadows. We tested the Sony/Panavision camera with the shutter disabled, the lens wide open and +3, +6 and +12 dB gain. You're not supposed to shoot like this. But we got a wonderful look with great detail."