Another chance to read about this extremely important development in the history of TV and FIlm. This means that TVs will be able to show videos that handle light in the same way as real-life. In our view, it's much more important than merely having more pixels, and the good news is that it's compatible with some existing cameras!
Can you make a feature film with an iPhone? Well, "yes" is the answer if you don't mind a slightly fuzzy-looking picture on a big screen, and if you sit far enough away, but you can certainly get a cinematic "look" if you use cinema-type techniques when you make your film, and some software to give your work its finishing touches.
As we saw in my previous article on sensor technology, we can now build sensors with enormous numbers attached to them - if not trivially, at least reliably. Given that current 4K sensors are more than adequate to replace 35mm film in terms of sheer resolution, we need to be careful about turning this into a numbers game.
Here's another chance to read this great article by Phil Rhodes on why cameras need global shutters. Cheaper, cinematic cameras come with a cost - they tend to have Rolling Shutters, which means that rapid movement can be skewed. The ability to buy cameras with global shutters at all price points can't come soon enough, according to Phil Rhodes
You wouldn't expect any film with Tom Cruise in it to be short on production values and Oblivion proves the point. Shot in shimmering 4K with Sony's F65, it relies less overtly on computer-generated special effects than other sci-fi blockbusters
This is the first of two articles featuring the Sony F65 - currently widely considered to be the best cinematography camera in the world, and the only one to output a true 4K from its 8K sensor. In this RedShark exclusive, Andy Stout talks to DoP Ben Smithard about his approach to shooting period drama Belle with this 4K camera