GH4 Feature aiming for theatrical release, 4K or UHD?

nobbystylus said:
I would also say that you don't even need a speed booster. Fast glass like Voigtlanders, SLR MAGICs all give you a s35 look to my eyes.
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You are absolutely right.

And while we are at it, forget the DIT, skip the sound mixer, the hell with the line producer, and why even bother to light anything, that way shooting with 3 cameras at once all the lighting will match.

There are are a number of paths one can take when producing a feature film that I would not journey down.

No offense to the OP, but shouldn't the choice of camera for primary photography not be dictated by A: The line item budget, and B: the Director of Photography and Director choosing the best tool for the project within A, rather than "no offense" camera fanboys?
 
Super 35 d.o.f. doesn't have to be essential. Plenty of films were shot in 16mm.

If I were shooting a film for theatrical release with this sensor size, I'd be much more confident with a BMCC though.
 
Let me answer the actual question. DCI Cinema 4k or UHD?

DCI Cinema 4k!!!

If you shoot DCI 4k for theatrical you will have the option of modifying the image to fit UHD.
 
David W. Jones said:
You are absolutely right.

And while we are at it, forget the DIT, skip the sound mixer, the hell with the line producer, and why even bother to light anything, that way shooting with 3 cameras at once all the lighting will match.

There are are a number of paths one can take when producing a feature film that I would not journey down.

No offense to the OP, but shouldn't the choice of camera for primary photography not be dictated by A: The line item budget, and B: the Director of Photography and Director choosing the best tool for the project within A, rather than "no offense" camera fanboys?
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I think it's sad that with so many capable camera systems that we've devolved into this train of thought. You mean to tell me you can't shoot a feature without renting an Alexa? None of these 4k camera's that aren't named Arri and Dragon won't be able to get the job done? OK GUYS PACK UP YOUR s*%t AND HEAD HOME! NOTHING TO SEE HERE BUT CAMERA TEST AND KITTENS FONDLING TALL GRASS! That's pretty elitist, discouraging, and untrue. I guess I better message Zak Forsman and let him know that his next feature, which he plans to shoot anamorphic on a GH4 and Odyssey 7q+, is gonna be trash bag, AND Shane Carruth should refund all the money he made off of Upstream Color. Sheesh even the low hanging forums have gone to camera snobbery. Sad.
 
From what I've gathered Dave Jones is far from a camera snob.

Rather he's a seasoned pro who's shoehorned the GH cameras into some of his productions, & as such, well versed in the camera's capabilities.

The GH4 is a remarkable camera, & I often use it over my more versatile systems, but mostly when it's the "best tool for the project".
 
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