A few weeks ago a client asked if we could deliver a 4K master.
Well today, all I’m going to say is – more about that later – got to go to NAB first.
What I will say though, is that 4K is real and it’s going to come very quickly.
One of the great advantages with 4K acquisition is the ability to reframe the shot when working toward an HD master. Avid provides tools to make this happen simply and easily. As an example, people are shooting interviews as 2 shots, and then reframing to a series of 1 and 2 shots in post – pure efficiency and flexibility being the motivation.
What has also come from this 4K workflow is how the editor now has yet another skill to add to the belt, as well as the creative impact of having DOP capabilities in the edit suite. We’ve even had chats about having framing sessions now, similar in tone to having a color session at the start of the finishing process.
Another great advantage is the ability to acquire in 4K and then offline and conform in HD for today, but future-proof your project for when 4K masters are actually needed. The net result is a better quality HD master based on the better quality 4K footage. Then, when a 4K master is needed (more on that later), we can go back to the original 4K media and do a true 4K conform.
Lastly, I can say that this will likely be a 100% digital process from start to end.
As a side note, there’s also a new issue developing in that the actual screen size of consumer monitors (hard pressed to call them TVs any longer) is growing. 32 inch was big when LCDs happened, 46 became the norm, 55 is currently the new average, but it looks like 85 inch 4K monitors are coming and the cost will be dropping dramatically. What it comes down to is that it really doesn’t cost that much more to produce a higher resolution, larger screen monitor.
Fascinating, how things are changing so fast.