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July 2018
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In the magazine
Only available in print
  • Live and direct
    From concerts to cup finals and ceremonial occasions, live events are increasingly important to broadcasters. Tim Dams reports
  • Cutting comments
    In advance of EditFest London 2018, four editors from the worlds of live action and animation who’ve shaped films from Top Gun to Wonderwoman 
to Sweeney Todd, tell Jon Creamer what it takes to create the perfect cut
  • All the World's a stage
    …And nowhere more than the UK, where studios are coping with an unprecedented demand for studio space from TV and film productions. Pippa Considine reports
  • Let's get high
    From the shoot to final delivery, Michael Burns discovers the best route to HDR
  • Tools of the trade
    Televisual’s annual Production Technology Survey reveals the kit that producers are using to make their content – and what they think of it. Jon Creamer reports
  • Get some focus
    Major changes in the camera market have 
made lens choice more important than 
ever. Phil Rhodes runs through some of 
the best options for programme makers
From the magazine
Available to read online
  • The art of the edit
    In advance of EditFest London 2018, four editors from the worlds of live action and animation tell Jon Creamer what it takes to create the perfect cut
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Reports&
surveys

Production Technology Survey, 2015 Back to Reports & survey Listing

Shooting in 4K is still something done by the minority of programme makers, according to our survey.

Only 30% of respondents told us they had shot in the format in the past year. However, this is up from 23% in last year’s survey, indicating that shooting in 4K is starting to pick up.

This is only likely to increase in the year ahead. Almost 50% of those we surveyed said they expect to shoot in 4K in the next 12 months.

Many are filming in 4K to future-proof their productions or because they want to achieve the best quality visuals possible for a high-end doc, drama, commercial or film.  Other reasons given for shooting in 4K are the greater flexibility it gives in the edit in terms of cropping, re-framing, grading and vfx.

Fewer have mastered in 4K though, choosing to downconvert to HD for post production. Only 12% say they have mastered in 4K this year.

Incredibly, a large proportion of our respondents – 30% - have never seen 4K content played out in 4K, indicating the hurdles the format faces before it becomes truly mainstream. “Most TV still doesn’t even broadcast in HD,” notes one respondent.



The consensus, according to our survey, is that it will be five or six years before 4K is commonplace in the home. 



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