In 2014 we begun following the developments of 4K in the industry and the new cameras coming to market from Sony, Blackmagic and RED. For those who don’t yet know, 4K gives us double the resolution of HD – making fine details ultra-crisp. In the middle of the year I begun working on a new project for Tesco – the idea was a mix of Alice in Wonderland and The Matrix, which would include plenty of green screening and tracking. This seemed like the perfect opportunity to tap into 4K and get hands-on with the workflow and logistics.
Despite the challenge of managing huge files in post-production, the jump in picture quality and flexibility it gave us when re-shaping images for use in an HD workspace made it all worthwhile. This allowed me to make use of zooms, pans, re-cropping and faking dolly moves without hindering the quality. It provided me with a lot more flexibility and options in post, while still maintaining the best possible resolution.
It’s 2017 and for now HD is still the perfect delivery format for most of our client’s needs. But, the more Tailwind progresses to advert level work, the more 4K will start to find a frequent place in our workflow.