In November 1995, Procter & Gamble developed its Digital Electronic Cinematography (DEC) policy with the goal of having its ad agencies produce a few commercials using video acquisition. Contrary to other closed minded companies which saw film as the only medium for commercials. P&G have been open to exploring new formats as part of their business.

The strategy began with Digital Betacam and recently migrated to HD. Jim Gosney, P&G associate director for commercial production, explains: "We saw things becoming more digital and thought we should understand digital video. We see a time when broadcasting will converge with new media-the Internet-and all elements are likely to be digital." Gosney continues: "We also felt video had improved greatly, offering high quality pictures that could be compared to film. Lastly, we understood the cost benefits, but, by far, that was our last concern. We're not in a mode of saving every possible dollar at the expense of quality. Good directors are very important. Content is first; 35mm, 16mm, or Hi-8 issues are less important.

Following this lead, Saatchi & Saatchi, New York, recently produced "Mountain Spring," a :30 shot by director and DP John Alonzo (Chinatown) using Sony's HDW-900 Cine Alta camera. The production, convened a week and a half before the air date, captured scenes in northern and southern California. John Alonzo elaborates: "I'm a big advocate of high definition, not just because I wanted to try it, but to use it like a new palette, a new tool. I used it like a movie camera. It has as much range as film to a degree. High definition tape picks up information in the shadows easier than film does. In telecine you add black to give it more latitude." Alonzo goes on: "Film is going towards tape. Eastman Kodak's Premier print stock is absolutely beautiful; there's no grain. There is no difference in a case like this. I look at high definition rather like it's film stock." Rhinoceros Editorial and Post, New York, posted the spot. Walter Lefler, the firm's creative director, began working in HD in 1991-the year he went to Congress and made a pitch for Sony. He explains: "It's evolved very slowly. The world's just catching up to it."
P&G has been a pioneer and, in its own way, has pushed the HD migration ever ahead. But advertisers, and ad agencies, face enormous obstacles in the path toward HD acquisition. Film is deeply entrenched in the production world, and commercial directors are resistant to HD's appeal. Only until people like George Lucas or Steven Spielberg embraced it , did commercial directors started seeing HD as a possibility.
“If its good for Yoda it must be good for a washing soap” says Bernie Tobas jocking over the telephone from his office in Saatchi & Saatchi.