4 tips for working with 4K

Phil Holland is an LA-based cinematographer and visual effects expert that has worked for clients including Disney, Dreamworks, and Apple. More recently, RED Digital Cinema recruited him to be one of the first filmmakers to shoot with their new 8K WEAPON Vista Vision/full-frame 35mm camera, which has already been confirmed to shoot the upcoming Guardians of the Galaxy Vol. 2.

Times and technology have advanced a great deal and these days 4K is becoming an essential, commonplace delivery resolution for feature, commercial, and episodic productions. 4K and 4K started for me in 1999, as we were scanning motion picture film in at 4K and eventually 6K . Back then, things were much more difficult than they are today.

Below I ve tossed together a few tips that should help you while working behind the camera and eventually when working behind the computer.

Tip 1: Choose Your Camera and Your Power

Not all 4K is created equal, and neither are the cameras. For a more film-like image from modern digital cinema cameras, the quick things I m after right off the bat are a Natural Color Response, a wide Total Captured Dynamic Range, the ability to capture a Compressed or Uncompressed RAW Format, minimal to no in-camera image processing, and a High-Resolution Sensor.

At a minimum, you want a camera that shoots in 4K resolution. Personally, I prefer shooting with my RED Weapon digital cinema camera in 5K resolution. These cameras are Multi-Format/Multi-Resolution and have a very strong Film Format to Resolution Relevance. For instance, 5K resolution on a RED camera with the Dragon sensor is approximately the same image plane as Super 35mm film in width. Recently, I started working at 8K resolution, and it's a bit larger than the large format VistaVision film specification, which is definitely a treat to behold.

For these high-powered digital cameras, you're going to need reliable power along the way. Ever since Anton/Bauer came out with the CINE batteries, I don't go to a set without them. It's the only one on the market right now with 12 amps of continuous power as well as having a low profile form factor, so they are perfect for modern RED cameras and don't get in the way of my workflow or rigging.

Tip 2: Quality in Camera Moves and An Eye for Quality Control

I don t shoot a lot of handheld. I tend to prefer more deliberate camera moves via fluid head, dollies, sliders, jibs, and cranes when possible since much of my focus in my images is how to maintain the highest quality possible.

The most important and fundamental tool for high-quality images? A solid fluid head and set of sticks are mandatory. For the RED cameras I use, and how I rig them, my main head and sticks are the OConnor 1030D Fluid Head with the 30L Carbon Fiber Tripod. This combo is lightweight enough to haul around and place into small spaces when needed, which is more or less why I prefer the mid-level spreader most of the time. On larger shoots, it s not uncommon to go the extra mile and bring out an OConnor 2575 for even more stability. Because the cameras I m using these days are usually lighter than 40lbs rigged, OConnor's newer 2065 is a nice middle ground solution that s a bit more ideal in my opinion.

Once you have a solid fluid head/tripod combo, staying aware and alert while operating is paramount I refer to it as being Tuned into Quality Control. 4K and 4K shooting is not very forgiving when it comes to whacky, low-quality tripods, a wobbly floor, or a not-so-smooth pan. Paying close attention to what s going on in-frame as well as around the camera is all part of the job. In terms of operating the camera, be deliberate. While shooting 4K provides the flexibility to stabilize in post', it s not ideal by a long shot.

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