Drew_Geraci Posted October 3, 2022 Share Posted October 3, 2022 One of the biggest benefits to using the Alpha 1 (that I see) is its ability to capture 8k video in full 4:2:2 color, something you can't really do with any other Sony camera, aside from the Venice 2. I often have other shooters tell me they don't shoot in 8k but after I show them how I can manipulate the image in 4k by recomposing, adjusting the frame, creating 2 completely different shots, or adding dynamic motion their tune quickly changes! (Here are two shots from the same frame, both telling different parts of the story in 8k). My question for the community is how often do you film in 8k and are you taking advantage of the resolution when you do? Link to comment Share on other sites More sharing options...
tonygale Posted October 3, 2022 Share Posted October 3, 2022 I always believe in shooting the highest resolution available to me! I can also go down in post if I need to. I don't always shoot in 8k because I don't always use the a1, but when I do, 8k all the way! Link to comment Share on other sites More sharing options...
davidmclain Posted October 4, 2022 Share Posted October 4, 2022 This conversation is really complicated but the simplest way to think about it is that the compression/codec is just as important as whether you are shooting 4K or 8K. A colorist would always rather have 4k raw footage to work with than 8k compressed footage. I've spent a lot of time thinking this through with my colorist Jerome Thelia and the sweet spot for the way I shoot (Doc style/small crew) is UHD shot on a Sony A1 or A7sIII recorded to an external recorder (Ninja V) in Pro Res 422. It's not an overwhelming amount of data to back up in the field and has very little noise in low light. We are both consistently blown away at how good this looks. Link to comment Share on other sites More sharing options...
Ceehere Posted October 5, 2022 Share Posted October 5, 2022 I almost always shoot in 8K 4:2:2 HLG From that I can extract what many projects need. I also can produce custom stock footage with retiming, down conversion reframing and or tilt and pan.However many stock footage agencies still only want HD or UHD so I would provide that as a rule currently.Mark Link to comment Share on other sites More sharing options...
CarolineJensen Posted October 5, 2022 Share Posted October 5, 2022 This visual really is thought-provoking, Drew! Link to comment Share on other sites More sharing options...
Drew_Geraci Posted October 5, 2022 Author Share Posted October 5, 2022 This conversation is really complicated but the simplest way to think about it is that the compression/codec is just as important as whether you are shooting 4K or 8K. A colorist would always rather have 4k raw footage to work with than 8k compressed footage. I've spent a lot of time thinking this through with my colorist Jerome Thelia and the sweet spot for the way I shoot (Doc style/small crew) is UHD shot on a Sony A1 or A7sIII recorded to an external recorder (Ninja V) in Pro Res 422. It's not an overwhelming amount of data to back up in the field and has very little noise in low light. We are both consistently blown away at how good this looks.Absoultely! RAW always trumps anything compressed (in my book). I can't wait for RED's patent to expire in 2026 so we can finally have true RAW in our cameras in 2027. I definitely feel like 8k is the future (or present depending on who/what you deliver for) but 4k is still just as good in most situations. Link to comment Share on other sites More sharing options...
Drew_Geraci Posted October 8, 2022 Author Share Posted October 8, 2022 I almost always shoot in 8K 4:2:2 HLG From that I can extract what many projects need. I also can produce custom stock footage with retiming, down conversion reframing and or tilt and pan.However many stock footage agencies still only want HD or UHD so I would provide that as a rule currently.MarkYeah, 8k is slowly being adopted at stock agencies and I expect that to increase even more as 8k becomes standardized (by late 2023 or early 2024). Link to comment Share on other sites More sharing options...
kaylajeanson Posted October 9, 2022 Share Posted October 9, 2022 The way you are approaching filming might be the future of filmmaking. Imagine being able to choose your shot framing, focal distance, and everything in post-production. One day the camera will capture everything, and the choice will be much more in the hands of the editor. And then to be able to replicate a 3D space, you could even move the digital camera within a span of the space and reposition as needed. It's useful to start to think this way, for sure. (I wish I had the Alpha 1 to play with for 8K!) Link to comment Share on other sites More sharing options...
Drew_Geraci Posted October 14, 2022 Author Share Posted October 14, 2022 The way you are approaching filming might be the future of filmmaking. Imagine being able to choose your shot framing, focal distance, and everything in post-production. One day the camera will capture everything, and the choice will be much more in the hands of the editor. And then to be able to replicate a 3D space, you could even move the digital camera within a span of the space and reposition as needed. It's useful to start to think this way, for sure. (I wish I had the Alpha 1 to play with for 8K!)100000000% and it's coming one way or another. I'm looking forward to the day when there's so much information captured in the image that we can change nearly all specs of the shot to create more shots or different compositions within the same frame and not lose quality. AI will definitely get us there. Link to comment Share on other sites More sharing options...
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