Increased resolution means hitting focus is more critical than ever. But have advancements in resolution outstripped our ability to determine when an image is in sharp focus?
The decision by the International Olympic Committee to give the 2020 Olympics to Tokyo means that NHK's decades long project to bring its 8K Super Hi-Vision project to the masses not only has a deadline but that 4K now has the threat of built-in obsolescence to cope with.
It’s very easy to dismiss 8K as unnecessary if you don’t understand how it relates to screen sizes. There’s a very easy way to think about this.
Sony has developed a mind-bending application for UHDTV (Ultra High Definition TV) that records the action on an entire football pitch, and then allows an area of the pitch to be selected and output at "standard" 1080 or 720 resolutions.
Another chance to read about this fascinating debate. This was first published in April 2014. Just because we can do 16 bit, High Dynamic Range, 6K and 8K: does that mean we need it? Here's where to start in the debate
Two significant events in the path towards rolling out higher resolutions occurred yesterday: overshadowed perhaps by its new Pixel phone, Google announced a 4K HDR version of its Chromecast dongle, while in Japan NHK unveiled a dual 4K/8K set-top box.
We've been working with RED and G-Technology to look at the issues, opportunities and practical solutions around shooting in higher-than-4K resolutions. We asked cinematographer Shane Hurlbut, ASC, what it’s like to work in higher-than 4K resolutions using RED cameras and G-Technology storage
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