I may dig some of the MCU flicks, but cinematography is NOT their strong points. Digital photography through VFX to a degree, sure. However beyond that, it's polished, albeit not extraordinary.
For the Ursa Mini respectively, that's ACTUALLY a full 4k workflow.
Prores/DNxHR 4k is a standard found on the Alexa and now Red. So if you're having issues w/ storage and processing w/ the Ursa, then you definitely have to upgrade your post system to compensate.
Definitely good for film project archival. I've also found that upscaling 1080p footage TO 4k does wonders for aforementioned tracking shots as well on a 1080p/2k timeline, of course.
It has its benefits. However for the most part, I don't use it often.
This is almost exactly how it's done on 4K content today.
Since when do we need 4K to shoot documentaries and indies?
Most displays aren't even IN 4K, the content available isn't mastered in 4K and is merely 2K upscaled and to even see the benefit you've to be 4-5 feet away.
So while it's great for acquisition of content that legitimately NEEDS 4K (such as landscape work), what's the big deal? I'm more concerned with the poor color and codec than the resolution. We can't even get proper 1080p from these as of yet, so 4K is irrelevant at this point.
People getting bent outta shape to keep up w/ the Jones' when the basics are barely there still.
As MUCH as I love 16mm film (it was what inspired me to jump into cinematography), A LOT of it is due to obvious visual details that can be emulated if you know what you're looking for. From the grain (which there are SO many options of genuine grain scans to digital emulation), to the light blooming off of highlights due to the image actually being an upscaled crop of a 35mm frame. Easy to emulate if you know what it IS to emulate.