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?
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.
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.