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Designed by David Bush & Mike Connor

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Why shoot in higher resolution than the deliverables.

Designed by David Bush and Mike Connor

Even if the final output is going to be a 4K/UHD master, shooting in higher resolution gives you many options in post that you do not have if shooting in lower resolutions. Four times the number of pixels (compared to 4k) or nine times in 12k give vastly improved selectivity for grading, visual effects, tracking and image stabilisation, green screens, blue screens, composites, visual effects, and, of course, re-framing.

Arguably, making a production in higher resolution will also futureproof it to make it more attractive for sales in the long term. 

Importantly, and thanks to the technology of 8k Mobile Digital Lab, working with these high resolutions doesn't need to be any more expensive or time consuming than working in lower resolutions, as the main workstations and high resolution cameras are the same whether they are being used in 4k, 5k, 6k, 7k, 8k, or 12k and there is no slowdown in speed of operation at the higher resolutions. Sometimes the double ISO possibiities some cameras offer can prove to be more useful for less noise and less required light on set, over and beyond the high resolution possibilities.

The only additional cost that can be incurred is if the project is archived and backed-up in its native resolution as the need to add extra storage disks & LTO 8 tapes for the additional volume of data exists.  However, it is more standard practice to make final deliverables in 4k today, as a higher resolution conform can usually be made later using the original camera raw files, if required.

8k Mobile Digital Lab can connect up via internet broadband and send files of the original raw shots as they are being shot, while also backing them up to a different location, for example. This remote operation is what La Sartoria dell'Immagine has developed to work in high resolutions, and which is an on-going technical and operational collaboration between the two companies.

The remote possibilities can also help satisfy the conditions that Completion Bonds often specify and may require (3 identical clones of original camera shot material in 3 different locations).

Shooting in 5k, 6k, 7k, 8k or even the new 12k might seem a bit like overkill on first impression.  However, there are some good reasons why it is useful to evaluate shooting in higher resolutions than most of today's 4k or less deliverables.

Although for many, the idea of recording very high resolutions conjures up images of huge file sizes, long transfer times, piles of hard drives, and slow proxy workflows. There is too a misconception that it is vastly more expensive than it actually is. It isn't.

Even though HDR (high dynamic range) and HFR (high frame rate) are far more valuable than resolution to the consumer’s eye, there are other benefits with a high resolution production which an increasing number of projects are taking advantage of, and we'll discuss some of the reasons for this below.

Below are a few examples of resolutions used for contemporary series.

Mank, directed by David Fincher was acquired 8K using the RED Monstro in Monochrome, while season 2 of Amazon’s Homecoming was also shot in 8K. Money Heist, the Netflix drama is shot in 7K (season 4) to accommodate HDR in a 4K deliverable. Sacred Games is shot in 8k, while Portrait of a Lady is shot in 7k and 8k. Doolittle is shot in 8k.