Marisa Cohen, co-founder and representative of the highly successful HDFest film, er, festival was game enough to answer some questions I had about her thoughts/opinions on all things pertaining to her particular organized gathering of high definition junkies. She shares her musings on why HDFest is important, what HDFest offers to filmmakers outside of the usual run-of-the-mill film festivals, and how music is being integrated into their happenings more significantly. Oh yeah, and have I mentioned that HDFest is really cool?

You can check out more information about HDFest on the website, or heed any of Marisa's recommendations in the interview below. And we'll be writing more about this one before it gets underway in October, so keep your eyes peeled here for further developments!

Thanks Marisa!

Q: How did HDFest come about?

HDFEST was founded in 2000 by a group of people (including me) who noticed that there was really no outlet for indie filmmakers who shot with HD cameras. At the time, HD cameras were available, albeit not very popular yet. However, those pioneering souls who did shoot with HD cameras were required to down-convert their works to Beta or Digibeta to screen at a festival. The first HDFEST event in 2000 provided HD projection equipment for these films so that these movies could be showcased in the high quality they originated in. Needless to say the probably 30 HD filmmakers who existed in 2000 were really excited about HDFEST.

Q: How does HDFest differ from other film festivals in New York? (Besides the obvious digital format difference.) What does it offer to new and aspiring filmmakers?

HDFEST does differ greatly from other New York festivals besides the obvious difference that everything in HDFEST was shot and is showcased exclusively in HD resolution. The festival offers panels and education on HD filmmaking and what filmmakers need to know about making a transition from shooting in film to HD. Nowadays many film schools offer really nice education on using HD technology. However, most filmmakers who went to film school before 2003 or so find it really interesting to come to HDFEST events and learn about differences between HD and other formats. And they can hear about potential HD pitfalls or problems other filmmakers had so they can prevent these types of problems in their own lives!

Plus HDFEST has a music event that runs in conjunction with the film festival in New York. The musicians who will be performing are all interested in meeting filmmakers and collaborating on soundtracks or film scores. This will be a great opportunity for filmmakers to meet and hear musicians who they might want to collaborate with in the future.

Q: Is there any kind of style or feel/tone of HDFest that you, or the festival in general tries to project?

HDFEST hopefully projects the tone of enthusiasm about the future and progress for media artists. We believe that all filmmakers with all budgets should be able to produce images that can compete with major motion pictures. We are all about "digital democracy." This is about leveling the playing field so a filmmaker who is brilliant but only has a tiny budget can produce images that could be put in a major motion picture theatre and the difference in the visual quality would be undetectable.

Q: How has digital film making progressed or changed since the time HDFest began?

Digital filmmaking has evolved rapidly since HDFEST began. We can barely keep up with the releases of the new HD cameras which seem to be getting smaller and smaller and more and more high quality. It seems as soon as a filmmaker buys a camera, a new better one may be released. When HDFEST began it was difficult for a filmmaker at times to get his or her hands on a HD camera. However these days HDV cameras are available at Best Buy/Circuit City/Amazon etc for a reasonable purchase price. Quite the fast transition.

Q: What style or genre of film, in your opinion, seems to benefit more from the digital/HD format?

I cant really say I feel one genre of film benefits the most from HD visually. However, practically I would have to say documentary filmmaking benefits most. Filmmakers can shoot days and days of endless footage for a very small budget. This is something that was just cost prohibitive with film. At this point personally, I really cant see why a filmmaker wouldn't choose to shoot a documentary with HD cameras.

Q: There are many grassroots filmmakers who believe High Definition film making is more costly and difficult to pursue than regular digital film making (given the lack of venues that promote the format) and are afraid to delve into it. Are there any "myths" about HD film making that should be dismissed and/or clarified? Basically, why should someone film in HD?

HD provides filmmakers with options for the future, that they may not have with another lower resolution digital video format. They can shoot in HD and its future proofed!

In our opinion it makes little sense to choose minidv or DV over HDV at this point (unless of course you are using DV equipment you already own.) If any fearful digital filmmakers are out there readings this, don't be afraid. If you would like tips email us at admin@hdfest.com and we will do our best to help or advise. Its important to point out that its becoming easier and cheaper to shoot and edit in HD or HDV every day. Also the costs of making a 35mm print from an HD source continues to go down.

Q: How would you view the independent film scene in New York, and specifically, the digital movement? Is it strong, could it be improved, etc.? Do you see HD/digital film becoming the standard format for independent filmmakers soon? (If it hasn't already?)

The indie film movement and digital movement in New York City is amazing. I think overall filmmakers in New York have a great balance of appreciating the old methods of filmmaking and embracing new ones enthusiastically. I also think filmmakers in New York are interested in working efficiently, economically and intelligently. Perhaps they dont have time to play around and pay for reels of film stock! The amount of entries we receive from NY filmmakers each year indicate this. It seems as though New Yorkers from the beginning have embraced the technology.

Q: Have independent film theaters around New York been embracing digital and high definition cinema? (As in, do they project films in those formats abundantly?)

Yes, independent film theaters around New York are embracing digital and high definition cinema. HDFEST has screened at The Tribeca Screening Room, Goldcrest Screening Room and The Sony Wonder Technology Lab all of which have fantastic state of the art systems. Also there are many chains of theatres in New York city that have among the best digital facilities in the world. If you are going to see a Hollywood movie with lots of special fx or an animation, you cant go wrong choosing to go to a digital screening in one of NYC's many digital mainstream theatres.

Q: How would you like to see HDFest progress in the years ahead?

I would like to see HDFEST progress and evolve with the technology. HDFEST since has grown tremendously since the beginning and plans on unveiling a wide variety of new offerings. For example, this year one of our new developments was HDFEST Music Pro which allows filmmakers to find music from bands, composers and artists for their films. If you go to our website www.hdfest.com/musicpage.html you can browse through the database of musicians who are interested in working with filmmakers. We are making lots of great partnerships between musicians and filmmakers. We will keep you posted on what is to come!