4K Workflows and 4K Ultra HD TV: Another Tech Revolution

Early this year, Samsung released its first 4K Ultra HD TV at CES 2013. During the show, Samsung claimed that both larger and smaller types other than the initial 85-inch version would come out some. Now it’s apparently ready to fulfill part of that promise, announcing in Korea that 65- and 55-inch models will launch next month. According to Engadget, these smaller models will be priced the $10,000 benchmark compare to the $39,999 MSRP 85S9 UHD TV. The press release quoted that the new model will feature Samsung’s upgradeable Smart TV platform and the “micro dimming ultimate” LED lighting of the larger type, but the odd “Timeless Gallery” frame / stand (pictured above on the 85-incher) was not included.

Consumer electronics companies are hoping 4K Ultra High Definition TV will be the next big thing, but parts of the TV biz are proceeding like it’s already here.

The new-fashioned 4K TVs aren’t even placed in U.S. families yet, but already select TV pilots are being made by Sony Pictures Television with digital-cinema cameras to future-proof the TV shows for the time when 4K is widely applied. Sony’s partner the Cabler 3Net is future-proofing with its Total D strategy, producing programs in 2D and 3D at 4K, 2K and HD resolution. Meanwhile, Netflix’s “House of Cards,” CBS’ “Criminal Minds” and FX’s “Justified” are among the upcoming list of shows filmed with the Red Epic.

Curtis Clark, chairman of American Society of Cinematographers technology committee, believes that the 4K cameras will help deliver superior results than today’s HDTV performance. “It also has an advantage when you’re down-converting that to HD,” Curtis says. “You’re super-sampling or oversampling an image and getting the advantage of that. In a sense it’s like when you scan motion-picture film and show it in HD.”

Although 4K cameras such as the Red Epic and the Sony F65/F55weren’t designed for TV programming, but high-resolution camcorders will absolutely occupy a good position in TV sports soon. Shooting with a 4K camera gives lots of extra pixels to zoom in for replays and still get a full HD TV image, not a fuzzy, pixilated picture.

“Not only can we use the F65s that way, we’ve been using Phantom cameras and other extreme high-speed cameras to do slow motion for sports broadcasting, and it gives us some very effective new looks at an old product,” says David Stump, chair of the camera subcommittee at ASC.

What do you think of 4K Ultra HD TV and the 4K workflows? Do you believe that they will lead another tech revolution? If you have any idea, share with us! Follow us on Facebook and Twitter feeds or the comments below. Appreciated!

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