Sliders were invented for this problem 15-20 years ago by a couple key grips in Los Angeles. Then they trickled down to the DSLR crowd.
The original nickname for sliders were “overkeeper”, as in “over the shoulder” keeper.
So I guess hooray for re-inventing the wheel?
One thing, Vladimir, that I will agree with you on. The pressure to stay on top of the latest greatest camera in LA is there. And since all the latest greatest cameras can do 4K, I can see where it might become a way to weed out old gear for some buyers of services.
Also, yes, I agree with Gene, shooting in 4K is common amongst a certain set of clients that do a lot of 2d post work. And since I know Gene, I also know he’s knee deep in those clients. :-)
Here’s another way to put it...I own an Alexa. Only in very certain situations will a client insist on Red, and usually they have a very good reason for needing those extra pixels, because they’re doing post work that requires the res. And in those cases we shoot Red. But nobody turns down the Alexa otherwise even though it lacks “real” 4K. What does that say about 4K delivery being standard?
I work in Los Angeles. I have some notable brands on my reel.
I promise not to make this a pissing match, but what clients are you speaking of? I'm really serious. Without directly speaking of you personally, because I have no idea what you shoot or who you work for, but I think *some* people THINK they have to have 4k. And I think inexperienced clients and producers always ask about 4k. Because that's what the camera press is always talking about. But at the end of the day, hardly anybody is hitting the 4K button on Youtube and hardly anybody is paying for 4K on their set top boxes, and savvy content providers know that nobody (relatively) is asking for it.
I've found that as I climb the ladder, the only thing I need to be marketing myself as is "good" and "pleasant to work with". If somebody who calls me is saying "do you know how to shoot 4K?", that's a red flag.
I think a lot of aspiring shooters think that 4K capability is a competitive advantage. I'd say for the vast majority, it's a red herring.
"but like it or not, 4K is pretty much the standard these days both for capture and delivery."
I really really don't want to be "that guy", but I'm not sure where 4K delivery is standard.
Any professional, commercial work I've been a part of for the last 10 years (btw, almost as long as I've been shooting any format capable of 4K), has been a 1080 deliverable.
Even outside of the areas that I work in, I think you'd have a tough time defending that statement amongst professionals.
Don't fall for this trap.
The trap is, and I've been there before, is that any one thing is the barrier between you and making "art" or being creative. Or that if you do not align yourself with other supposed great tools, your creativity will be hampered.
Film is beautiful. Film is great. Film has nothing to do with whether or not you put the camera or the light in the right place at the right time, which frankly is what it's all about and has vastly more importance than what you capture the image on.
I love that there is renewed interest in film, I hope there's always enough interest to make it economically viable.
But fetishization only obscures the real work, if you are trying to become a better filmmaker. It only has a place on a website that claims to be an education resource if balanced opinions are also made available.