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Old March 11 2013, 09:37 PM   #44
Location: New York City
Re: Futureproofing (for viewing) the next Trek TV series

How to create 4K content for new Ultra HD TVs was addressed Tuesday at the Hollywood Post Alliance Tech Retreat.

Sony Pictures Television plans to shoot between three and five pilots in 4K this season.

“My guess is we’ll be doing half a dozen shows in 4K if they are picked up,” SPT senior vp technical operations Phil Squyres said Tuesday at the Hollywood Post Alliance Tech Retreat at the Hyatt Regency Indian Wells. He reported that directors of photography on the programs -- a mix of half-hour comedies and one-hour dramas -- had either selected or were exploring the use of various 4K cameras, including Sony’s F65 and new F55.

SPT series that have already used 4K photography are the canceled CBS drama Made in Jersey, which was shot with the F65, and FX’s drama Justified, which is shot with the Red Epic camera.
The F65 is also used on the half-hour comedy Save Me for NBC and one-hour drama Masters of Sex for Showtime, as well as Michael J. Fox’s half-hour comedy pilot for NBC. All three are also posted in 4K at Sony Pictures’ post facility Colorworks, which is based on its Culver City lot.

To grow its 4K library, Sony has additionally started to remaster Breaking Bad, a film-based series, in the higher-resolution format. Plans are for additional titles to follow.
Squyres noted that a reason to consider 4K post for new projects is that “remastering costs twice as much, because you are doing the work twice.”

The next Trek TV series will be shot in 4k. It's the wise business decision for legacy archival.

Bill Baggelaar is the senior vice president of technology at Colorworks.

“Production should shoot and finish in 4K… to have an asset they can store that has long-term viability,” he said. “Even if you’re not going to produce in 4K today, you can shoot in 4K and produce in 4K down the road.”

Baggelaar said 4K was a consideration from the outset when Colorworks started finishing TV shows because the 4K workflow was in place for doing theatricals. However, the primary deliverable for TV is HD, he said.

“We didn’t want to jeopardize the HD product by producing in 4K,” he said. “We’re able to look at HD, produce in HD, but we’re looking at 4K in the background.”

Last edited by jefferiestubes8; March 11 2013 at 11:21 PM.
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