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November 2019

In the magazine
Only available in print
  • The Facilities 50
    Jon Creamer launches Televisual's 32nd exclusive annual Facilities 50 survey featuring the top post production houses in the UK and 48 pages of analysis of the sector
  • Aim High
    10 page special report on production at the high end. We take a look at what’s new in colour management, pre visualisation, aerial filming, full frame shooting, the role of the DIT, working with Dolby Atmos, choosing the right codec, booking studios and
  • Drama: Genre Report
    As the streaming revolution gathers pace, with Apple TV+ and Disney+ now entering the SVOD fray, Tim Dams reports on the drama strategies of traditional broadcasters in an increasingly competitive market
  • Live Sport: Technology
    Live sports and events coverage, always on the cutting edge of innovation, is being transformed by new technology from remote production to 5G and immersive sound. Michael Burns reports
  • The Art of the Grade
    The grade provides a consistent ‘look’ to a drama, but a great grade can enhance mood, focus and narrative flow. Jon Creamer asks the experts behind Paddington, Ad Astra, Bohemian Rhapsody, Fleabag and more how it’s done
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Production Technology Survey 2018 Back to Reports & survey Listing

48% of our respondents report that they have shot content in 4K resolution or above over the past year.
That figure is actually a slight drop on last year’s figure of 51% and is exactly the same as in our 2016 survey. That perhaps indicates that acquiring in 4K and above may take more time than many think to become ubiquitous. Of those that are shooting in 4K, some give the reason as a delivery requirement (producers working for Netflix for instance) but more say they are shooting in 4K to future proof their content, or to give greater options for cropping the image or for manipulating the image in post. The demand for 4K delivery has not grown considerably for productions outside of the very high end and that’s borne out by the fact that the percentage of respondents who had mastered in 4K or above actually had a slight drop this year; 27% had done so in last year’s survey whereas only 21% have mastered in 4K this time. However, most expect 4K to grow in importance. 67% said they expected to shoot in 4K in the coming 12 months whereas only 62% thought so in last year’s survey.

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