No one can deny that a 4K picture is impressive but it is far from the lions share as far as broadcast television and production companies are concerned. Japan needs to sell video junkies like ourselves the next best thing and that as far as Japan is concerned is 4K.
My clients don’t know or care what I shoot on, 4K, Special K, it just does not hit their radar. I have been shooting on HD for almost 5 years now and my clients are none the wiser, if I was stupid enough to shoot onto 4K they would not even notice.
The BBC have a policy of not shooting 4K because it is far too expensive to post produce, most production companies tied in with local broadcasters are still shooting DVCAM.
So where is this 4K myth coming from…the need to convince the end user that 2K is old hat and 4K is the new buzz word, that’s why camcorders like the Sony FS700 are 4K ready…all part of the 4K hype though I am well assured that NYC is a 4K town which makes sense as NY is so good they named it twice…2x2K = 4K.
4K cameras can be attributed to Red Digital Cinema, they were certainly my first glance into the 4K world, since Red, Sony and Canon have produced 4K versions like the Sony FS700 (Upgrade), Sony F65 and the Canon C500.
For film work and cinema presentations 4k and 8K are perfect but films do get bigger budgets to accommodate the lengthy expensive editing workflows, I also agree the better the picture you start off with etc. the better the end result, even downscaled onto SD but there comes a limit to primary quality like 4K hampering your workflow and extra expensive hardware needed to monitor a 4K picture.
Most of you reading this will be familiar with HD pictures, but many of you won’t have even seen a 4K monitor let alone a 4K camera, only Sony technicians have seen 4K out of an FS700, so whats the big deal.
The biggest part of the pie in Europe is still SD followed by 2K, the general punter in his home is watching an SD picture on an HD ready LCD with little to no take up on HD.
It’s the pied piper all over again, just watch the video manufacturers choose carefully their star blogger who will convince us all that 4K is here to stay and unless you grasp the nettle you will be left behind.
Lets see how many of the lemmings take to the water and drown under the overwhelming workflow problems 4K has to offer.
4K is the future that I have no doubt but you have to take into account your SD audience still struggling to get past the numbers on the telly tickets HD Ready 720p or Full HD 1080p…meaningless numbers to the average Joe.
For the first time this year a client specified 1080 50i footage, that’s one client in five years and I am only one small production cog in an enormous creative wheel.
The right to reply…
Katsunori Yamanouchi, VP Sony Pro Europe…“While some markets are mature and are beginning to explore 4K, others still need to convert from SD to HD. For Sony the critical issue is to accommodate the diversity.”
“I am proud to say that the broadcasting business is in my blood,” he says. “This is a period of an ever increasing pace of change in which neither technology nor customers are standing still.
“The TV of tomorrow is almost unrecognisable from the TV of the last century. Next-generation TV means much more than just picture quality. It means IP-connected and enabling the consumer to access a huge range of online content and services as well as stunning 4K resolution and 3D viewing – this is a long way from what we had in mind when HD was first introduced a decade ago.
“In this emerging 4K world, I believe Sony has been the driving force. We launched the world’s first 4K cinema projection system and followed that with a world first 4K home projector. Over 30 major films have been shot or are in production with the F65 and we are now bringing 4K to the home.”
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