4K has been part of the filmmaking theme since RED ONE was first released over a decade ago. At the time, all the “experts” were convinced it would take over in just a few years, telling us HD would be obsolete before we knew it. Ten years later, however, this has not happened.
In some ways, 4K has come a long way, especially when considering cost and accessibility. Shooting at ultra-high resolution has never been cheaper or easier, and there are virtually no barriers to entry anymore. Almost every new camera can shoot 4K now (even the iPhone), which is a far cry from 2007/2008, when the elusive RED ONE was the only real option.
But from my perspective, the 4K “movement” seems to have reached its peak… at least in terms of interest among filmmakers.
I think back to 2014, when cameras like the GH4 came on the market and brought 4K to the masses for the first time. There’s a feeling in the air that whatever camera you buy next is going to have to be capable of shooting 4K. If not, it will be out of date before you know it, and you might even lose clients or freelance work because of it.
But over time, most of us realized that 4K wasn’t going to be a game changer. It won’t bring us jobs. And it certainly doesn’t make our plans “future proof.”
Countless filmmakers who once lined up around the block to buy an A7S II or GH4 ended up selling their cameras within a year or two. Despite having 4K, their cameras are still prone to aging, and having the ability to record 4K internally doesn’t change that…
My point is not that there is anything inherently wrong with shooting in 4K (or 8K!), and I will always choose to shoot at the highest resolution possible. But this obsession with 4K has largely died out in the past year or two, and I can’t help but wonder why…
Maybe it’s because almost every camera can shoot 4K now, and it’s no longer the hottest feature. Or more likely, we’ve witnessed firsthand that shooting 4K itself doesn’t help our projects succeed, and that it’s a luxury rather than a necessity.
4K isn’t a requirement to get into top film festivals or win an Oscar. Audiences, buyers and film festival projectionists don’t care if your film is shot in 4K. Even Netflix, one of the only players that requires original productions to be shot in 4K, still buys productions sourced from HD or 2K.
Regardless, resolution is no longer as important as it was a few years ago when we were in no man’s land. In 2014, it’s easy to convince filmmakers that they need 4K and that without 4K, it’s all meaningless. As we all know, this may be true! But in 2018, after spending years watching countless 4K videos about cats on YouTube and winning Sundance Film Festival films shot on iPhones, we finally got some perspective.
Back in the days of film, cameras had been around for decades and most filmmakers didn’t need to be obsessed with their equipment or worry about their work losing relevance because of the technology they used. They focus on what’s important – telling a good story and entertaining the audience with great performances. I think we are finally starting to get back to that place…
Cameras will certainly never have the longevity they once did, but at least now the novelty of 4K no longer diverts our attention from other technical considerations – e.g. color science and dynamic range.
Not to mention, the 4K boom has driven down the price of HD/2K cameras so much that true DIY filmmakers now have access to some of the best cinema cameras ever available on the used market.
Recently, a narrative filmmaker asked me if he should buy a mid-range cinema camera, such as a Canon C300 II or a used Arri Alexa Classic. Her main concern was overall image quality, and the two cameras are nearly identical in price.
I don’t even need to think about the question before giving the answer – Alex classic.
The Arri Alexa range still offers the best image quality and color science on the market, including the original EV model. The fact that you can buy them on the second-hand market for a high-end Canon digital SLR camera with a lens is absolutely astounding. And the current speed is purely a result of the Alexa Classic’s inability to shoot 4K.
That’s not to say everyone should run out and buy Alexa Classic. They’re still not the best choice for high-volume production due to size and weight issues. But the fact that buying a used Alexa is a viable option on the market for under $10,000 is absolutely amazing.
I’ve heard from friends who work in rental houses and are owners/operators of Alexa Classics that there has been a huge uptick in interest in this camera in the last year. I just imagine this is part of an overall trend of filmmakers breaking the 4K curse that once was placed on them and focusing more on other aspects of the craft.
This mentality has trickled down to consumer cameras as well. Right now, you can buy a used Lumix GH2 for just $200 – that’s crazy! I remember a few years ago, stores couldn’t even put them on the shelves…it may be a few generations away now, but for a budding filmmaker with no money and “no need” for 4K, this is a Incredible gift.
Ultimately, 4K is just a resolution format. It’s a great tool that I use on many of my projects – but it’s almost never mandatory.
So for any filmmakers out there weighing their camera options, I hope this puts things into perspective. Color quality, low-light sensitivity, stability and many other variables are far more important than 4K… so don’t forget to keep an open mind next time you buy a camera and see what the second-hand market has to offer – you may be surprised by what you think surprise.
Let me know what you think of 4K in the comments below!
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