Why are we so obsessed with 4K?

A friend and colleague in the industry actually stopped me at BVE a few weeks ago to challenge me over constantly tweeting news and observations about 4K. It was only a bit of light banter. But it got me thinking…

It’s quite difficult to have any type of conversation about broadcast at the minute without it eventually coming round to that certain digit and letter. The dreaded 4K. Shh… It’s on everyone’s mind and although it’s beginning to become the topic of conversation that leaves most rolling their eyes, it’s so relevant to us all. Even if you don’t know it yet.

The transition from SD to HD was quite different to the current transition from HD to 4K. Firstly, because there isn’t actually a transition to 4K yet – not for the consumer anyway. 4K technology – and equipment – is there for the taking but there isn’t (for the most part) a need for it yet. When HD emerged, everyone knew it was going to happen. It was a foregone conclusion. And furthermore, we couldn’t believe we’d coped with paltry SD resolutions for so long!

The advent of 4K is different though. People’s mindsets are different. It’s not just about the resolution race this time. 4K offers new possibilities for productions and has the potential to change the way we’ve done things since… well, since forever, really. A locked off wide shot at a football match or at a music concert – if shot in 4K, but delivering in HD – gives you the option to pick any part of that shot. If it’s a pre-recorded event, the Director and Editor now have a new choice of what they want to show. Perhaps the action’s happening in the bottom left hand corner of the frame. Perhaps a tracking move in post to follow the action? Or if the viewer’s watching that wide 4K resolution image of a football game or a tennis match, do they need to see anything else? Do they need the other 20 camera feeds?

Another difference to the SD-HD transition, and another reason why 4K is such a hot topic, is that since HD became mainstream, the cost of broadcast equipment in general has reduced significantly. Now, not only is broadcast equipment affordable to us all, but even 4K production equipment is comparatively inexpensive. In a relatively short period of time, being able to produce full 4K productions – from acquisition to post – is viable. If you’re considering building a TV studio for example, you’d be crazy not to consider building a 4K TV facility – even if the current delivery requirement is only HD.

The other change in the industry that 4K has helped fuel is that on the camera and acquisition front, 4K – coupled with the DSLR generation that the Canon 5D kicked off – has led to a blurring of the boundaries between broadcast and cinema. In a previous blog post about the new Blackmagic URSA camera, I touched on how 4K cameras such as the URSA, the AJA CION and the ARRI ALEXA produce what can only be described as cinematic images, and television broadcasters and producers are using these cameras to produce television programmes. Shows such as Broadchurch, Homeland and The Good Wife are using 4K cine-style cameras to produce wonderful television. Television that’s become so immersive and rewarding to watch. It’s nice to see technology benefiting creativity and art. For a company like ours that is heavily focused on technology, it feels very satisfying to be here to watch this exciting new 4K period unfold.

So, as I said to my 4K Twitter challenger, on why we tweet so much about 4K – it’s so important to everyone in our industry.

Isn’t it?

If you’ve been disturbed by this 4K related blog post, please register your concerns by tweeting your comments to @TrickboxTV with the hashtag #stoptweetingabout4K. Or alternatively, leave your comment below.

One thought on “Why are we so obsessed with 4K?

  1. Pingback: The new kids and the old guard: what to expect at NAB 2015 | Trickbox TV

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