Regardless, you can use the same process to design your workflow for 4K, 8K or any resolutions in between. Most TVs, monitors, and projectors still max-out at a 4K resolution, so unless you plan to go crazy with creating your own coverage in the edit, 8K is likely overkill. Shooting in 4K or 5K rather than 2K can allow you to blow up a medium shot to create a close up in the edit, but the benefits from bumping your frame size up to 6K or 8K for a standard narrative or commercial project likely won’t outweigh the drag on edit speed and performance. Resolution and Aspect Ratioīigger tends to be better in terms of resolution, but because of the current limitations of technology, there’s a point of diminishing returns. Once you have an understanding of all the moving parts involved in working with high resolution RED footage, consider how changing one detail might affect another. Remember to always keep the big picture in mind when designing RED workflows. While there are certainly tried and true RED workflows, the specifics of your project will ultimately create the method that’s optimally designed for speed and flexibility. What to Know About RED Cameras Before the Edit In this article, you’ll learn how to design optimal 4K or above RED workflows - whether your project is a feature film, short film, or commercial. The ability to adjust a shot’s framing or create coverage that wasn’t recorded on set can sometimes save a scene from landing on the cutting room floor.īut shooting at high resolutions can create large and processor-intensive media files, which means knowing how to handle the material in the edit is a must for success in post. Shooting at a 4K or higher resolution can be a life-saver in the edit.
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