Posting 4K

HDVideoPro by Neil Matsumoto

Although 4K is quickly becoming the norm for capture, the post world is playing catch-up

How many of you remember the DALSA Origin camera? Announced in 2003 and released in 2006, the 4K digital cinema camera, which resembled a mini-refrigerator, was going to take over professional production. But because of its size and unyielding workflow due to its monster-sized 16-bit 4K RAW files, the camera wasn't accessible to anyone, including studio filmmakers. In short, it was a decade too early.

Now, 4K is becoming the dominant acquisition format. RED has been capturing 4K since 2007 with the RED ONE, and has since released the EPIC, SCARLET and the 19-megapixel 6K DRAGON sensor. Sony has the top-of-the-line F65, which can capture 16-bit 4K RAW files, as well as the new F55, F5 and FS700U 4K cameras. Canon's Cinema EOS division has been targeting Hollywood with the C500 and 1D C cameras, and Blackmagic is soon to release its first 4K camera, the Blackmagic Production Camera 4K. Even on the consumer side, cameras are transitioning toward higher resolutions with fixed-lens 4K camcorders like the JVC GY-HMQ10U, Sony's new FDR-AX1 and GoPro's HERO3+, which can capture 4K at 15 or 12 fps. The big holdout is ARRI with its ALEXA and new doc-style camera, the AMIRA, still capturing 2K or full HD. But even without ARRI, it's safe to say there's no going back to a 1080 world.

As you already know, 4K has four times the image information over full HD. Most know of its technical specifications through DCI (Digital Cinema Initiatives) projection standards, which is 4096x2160 (doubling the DCI 2K standard of 2048x1080). There's also Ultra HD, aka Quad HD or UHD, which is for 4K television standards. Its resolution is 3840x2160, which doubles the 16x9 full HD standard of 1920x1080. read more...

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