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(Zeiss), which has been rated to clearly capture up to 8K (and beyond!) We’re confident that such lenses will remain “future proof” for the time being, and, when coupled with cameras such as Sony’s F65, Arri Alexa & the highly anticipated Sony F55 – both of which are capable of delivering 4K, we trust that they will be up to the challenge. What kind of mount should I consider? to find out customers’ needs after the massive boom in the digital 35 market. This is a clear sign of change in the market and the growth which is springing up in new areas. What should I use when filming in digital? It has become very apparent that the digital film boom is here to stay (minus the Sony F900R which still shoots on tape, due to its phenomenal reputation, and still the system of choice for many of our colleagues and clients) – this means many directors are pushing their equipment harder than ever before. Of course, you can’t capture a great shot without fantastic glass - and demand for our top-brand lenses, such as the Arri Ultra Primes has certainly risen over the past few months. How do I choose an appropriate lens for 4K filming or beyond? The key to 4K, 5K or even 8K filming is to follow one simple rule: essentially, you get what you pay for. For example, if you use a standard ENG lens on a 4K sensor - the image will not have the level of clarity you’d expect from such a resolution and the end result may appear ‘soft’ despite being filmed on a high quality camera. This is because these lenses are designed to be used shoulder or tripod mounted cameras and cannot cope sufficiently with HD. Although at present a standard HD TV with a screen smaller than 70 inches won’t show the difference in quality with a substandard lens, you will in fact no longer be shooting in ultra high definition. When selecting a lens for this kind of filming, it’s best to go for something like a Master Prime Recently, we have started to notice that customers are increasingly requesting ENG style cameras with PL mount “cinema” style lenses. This may be caused by the current shift towards visually ground breaking documentaries that have the ‘cinematic’ look, such as the BBC’s recent Africa series -  a growth that we will continue to monitor, and, of course adapt to, dependant on what our clients need. With the increasing uptake of HD TVs, this cinematic quality is becoming ever more important to audiences. Paul Sargeant is senior operations manager with Procam TV, which he joined in March 2005; and has 15 years experience of the television industry, with a background in production and post production, TV and film support facilities, and equipment manufacturing and supply with Sony Broadcast. Today he works on developing and delivering Procam’s comprehensive facilities offering , cultivating working relationships with clients across the UK television and film industry, and beyond. 44 | TV-BAY MAGAZINE TV-BAY074FEB13.indd 44 11/02/2013 16:44