American Cinematographer - May 1986 - 85

Tape to Film

High Definition Transfers to 35mm
by Susan Levin
Gabriel Damon in

opening
Arrival

scene of
he awaits

as

the coming of
Halley's Comet.

The American Film Institute, (AFI), a

formed. AFI's Victoria Costello

long-time proponent of research and ex¬
perimentation into new technologies, re¬
cently tested the application of high
definition video system in a five-minute
short, Arrival. Being one of only two
projects ever shot and edited entirely on
HDTV, Arrival proved a valuable testing
ground for further improvements into
the currently available hardware. With a
grant from Proctor & Gamble, and
equipment supplied by the Sony Corpo¬

pointed producer of the project, with
Keith Williams as writer/director, Joe
Dante supervising director, and John
Hora, ASC, as cinematographer.

ration, Arrival's tour de force

was

was

ap¬

were very pleased to work on this pro¬
ject with the AFI - to not only look at
picture quality but have a working di¬
alogue with cinema
to see what it
was like working with HDTV. We be¬
...

team

came

educated

had worked with the medium before,

come

necessary."

(shot on Sony's HDVS system), the ex¬
periment proved a valuable source of
dialogue between the film/video com¬
munity and the HDTV equipment manu¬
facturers. Corey Carbonara, product
manager for the Sony Broadcast high
definition system, sums it up, "We

When a project as experimen¬
tal as Arrival goes into production, the
talents of many professionals are put to
the test. This five minute piece, con¬

May 1986

American

Because

no one on

this

as

cerning a young

Halley's comet,

to

what would be¬

boy's expectation of
inherently influ-

was

Cinematographer

83



American Cinematographer - May 1986

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