![]() ![]() There is still a shortage of 4k cameras, RED obviously is the exception and continue to reach new resolution goals, recently with their Dragon sensor. But in the video production world it seems that resolution is one of the smallest bones of contention because – it’s all about the workflow. ![]() Well as far as the consumer is concerned, yes. So it’s bigger, better and on with the show. We will come on to those in an article later in this series but make no mistake 2014 will see a 4K channel from SKY in the UK and probably 4K streaming from Netflix and other similar services. But cinema’s ‘monkey on their back’ is the TV broadcast world who have their own problems in keeping viewers. ![]() 3D has failed so higher resolutions have to be put to work. It was inevitable that higher resolutions would be demanded, mainly by the TV manufacturers who wanted a new wave of products to sell but also by the guardians of cinema who needed regular injections of technology to encourage people to their local movie houses. But it’s not really the same, HD broke the mould of ‘good enough’ resolution and started an upward trend in ever higher pixels counts. We are witnessing a new industry unwinding itself and preparing for decades of existence.” Written by this magazine ten years ago as our clarion call to the High Definition industry, but also a sentence that could be pinned to the emergence of higher than HD imagery and in particular 4k imagery. In the first of a series of articles looking at 4k technology we look at the acquisition and perhaps more importantly at the workflow of higher resolution cameras for movies and TV. All Is Lost, starring Robert Redford was shot on an Arri Alexa with Zeiss Standard Speed, Lightweight and Angenieux Optimo Lenses, mastered to 3k.
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