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TECHNOLOGY There needs to be a debate about what format UHD [4k] comes up with though. I would hope that it would be at least 50p, which would be a step forward.” There’s plenty more of course: focus is very unsympathetic; you cannot get away with ENG lenses; nobody in the real world can (or wants to) currently deal with 4k raw footage; 4k is probably best viewed on monitors that are far bigger than the average suite (or living room) wall; and very few people can honestly predict how high 4k storage and post-production costs are going to be, or how long post will take, until a TV programme is actually post-produced and delivered that way. And then there are the workfl ows…. but that is a whole different article. In technology terms, 4k is everywhere. But as it has not yet gone mainstream within TV we can ignore it if we want to. But it probably won’t go away. So we might as well embrace it. Current 4k camera options: Camera Max image res Canon EOS C500 4096 x 2160 Blackmagic Production Camera 4k Red Epic 8192 x 4320 Sony PXW-Z100 4096 x 2160 Vision Research Phantom Flex4k 4096 x 2304 3840 x 2160 6144 x 3160 Sony NEX-FS700* JVC GY-HMQ10 4096 x 2160 5120 x 2700 Red Epic Dragon For-A FT-One 4096 x 2160 Sony F65 4096 x 2160 5120 x 2700 Sony F5 Sony F55 Canon EOS-1D C Red Scarlet 4096 x 2160 4096 x 2160 3840 x 2160 *with interface unit 48 | TV-BAY MAGAZINE: ISSUE 86 FEBRUARY 2014