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The technology of digital filmmaking is evolving rapidly; Pinnacle Systems' CineWave is an excellent example.
Apple Computer and Pinnacle Systems intrigued digital filmmakers earlier this year by demonstrating uncompressed, non-linear HD editing on working prototypes of G4 computers equipped with Pinnacle's Targa CineWave boards and Apple's Final Cut Pro editing software. The demo was significant because it involved a "desktop" system, which although costing $30,000, is still cheaper than existing HD editing alternatives-linear and nonlinear.
At the same time, camera manufacturers Panasonic and Sony had introduced new generations of digital HD cinematography camcorders that were much less expensive (as well as smaller and more portable) than previous models. Up to that point HD editing still required a multi-million-dollar linear post production suite. Was it possible that a "desktop" system could be suitable for motion-picture post? The CineWave/Final Cut Pro combination triggered rampant speculation that filmmakers could acquire the means for end-to-end digital HD production using 24 fps digital cameras and nonlinear editing systems at prices that would actually make sense.
Things have moved rapidly in the ensuing months since CineWave's introduction. George Lucas completed principal photography for Star Wars 2 using Sony's 24P CineAlta format, and pronounced it "indistinguishable from film." Other filmmakers-indys and majors alike-became interested in digital HD video as a new medium with unique creative characteristics and budgetary advantages. Major film-camera rental houses further legitimized digital HD by offering cameras with lens and accessories emulating the best film packages. Motion-picture exhibitors further heightened interest in digitizing all aspects of cinema as a means of relieving their own struggling business.
Major differences exist between shooting film and digital. And there are technical issues that arise when digital material is transferred to film for delivery and...