7/27/2019 4K photography feature, Popular Photography, Feb '13

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UBA

Plus, when it comes

to action sports, evenfast motor drives can

miss the shot. Frame

rates of 96 fps and up

can freeze action in asingle frame, and allow

for slow-motion playback, too.

The advantage is being able topick the moment that you want,

Jarvis says. The disadvantage is

the amount of overspray. Because

4K cameras can record upwardsof 3- to 5GB of data per recorded

minute, photographers need large

cards and external recorders.

When shooting at slower rateslike 24 or 50 fps, Huba has his

models slow their movements in

short stretches to get crisper stills,

Jarvis coaches athletes on what todo during peak action, the second

or two from which hes planning to

pull a still.The results are stretching the

kinds of images photographers can

make. When Williams shot MeganFox for Esquirein 2009, he made a

short movie, multiple spreads, and

even moving covers or motos,

4KFUTUREOPTIONS

66 POPULAR PHOTOGRAPHYFEBRUARY 2014 POPPHOTO.COM POPULAR PHOTOGR

IN 2007,Greg Williams, a Britishfilmmaker and photographer, was

working on an editorial for Italian

Vogueand experimenting with theRed Onea digital video camera

he had seen Peter Jackson use for

his short film Crossing the Line.

When he submitted the images,he slipped in a still he shotwiththe One. I didnt tell anyone, I

just sent it, he says. They ran it,

and it looked fabulous.

Back then, Williams proved that

you could make images sharpenough to print in a magazine.Now, seven years after the Red

Ones debut, more photographers

than ever are using 4K cameras

like it to shoot video for pull-ing print-worthy stills. Among

them are videographer Blake

Kueny, who shot the cover of the

February 2013 issue of TransWorldSURF on a Red Scarlet, and Chase

Jarvis, who shoots both action

and commercial work withcameras like the Red Epic and the

1000-frames-per-second Phantom

Flex4K. Then theres photographerJohn Huba, who is testing the lim-

its of Canons EOS-1D C, a DSLR

that shoots 4K at 24 fps.But why shoot with a video

camera when still cameras with

relatively fast burst rates can

capture more resolution morecheaply? Perhaps because a client

like surfwear clothing line Hurley,

for which Kueny was shooting,wants to use stills from its video

to make 4x6-foot posters

for the videos pre-miere. Or maybethe client wants to

get both video and

still out of a single

crew and shoot.To me, the point

of having video and

stills on one set is totell a client: Youre

going to get a uni-

fied image, Huba

says. Youll have asingle brand from this shoot,

not two separate looks.

FREEZE FRAMEJohn Huba pulled

this still from a

short film he made

calledDeNova.

Shot on the CanonEOS-1D C at 24

fps, his exposure

was 1/160 sec at

f/5.6, ISO 1600.

THE RED SYSTEM

Reds modular

camera systems

are some of the

most popular forshooting video

from which stills

can be pulled.This rig is built

around an EpicS35 Brain with

a 27.7x14.6mm,

14MP Mysterium-X

sensor, which

can shoot RAWvideo at up to

5K (5120x2700)

resolution.

Plenty of shooters use still cameras to capturemotion. But what about the opposite? It turns outthat sometimes, high-res 4K video cameras are just

the thing for photography. Meet some pros who getgreat shots via video. By Matthew Ismael Ruiz

Low End The muchBlackmagic Production C4K ($3,995) will record 4

video (3840x2160 pixelsits 21.12x11.88mm sendirectly to abuilt-in SSDrecorder.

Mid-Market The full-frame, $11,995 EOS-1D Ca beefed-up 1shoots in 4K (4096x21624 fps directly to dual-Ccards. Huba says

you can use shut-ter speeds up to1/160 sec to helpfreeze the action.

High EndStartingat just under $100,000, tPhantom Flex4K makessense to rent than buy. Bit offers unparalleled hispeed shooting, capturi4K (4096x2160) video o27.7x15.5mmsensor at up

to 1000 fps.

I/O MODULEThis unit has two XLR inputs

(one output) for external audio

sources, connects the Brain to

multiple displays, and syncsmulti-source audio and video.

MOUNTThe modular Red system

allows mounts to be inter-

changeable, letting photogra-

phers use lenses from both

still and cinema cameras.

LENSESWilliams prefers the inter-

changability of Canon L primes

like the 85mm f/1.2L; Kueny

recently fell in love with the

PL-mount Arri Ultra Primes.

REDMOTEThis accessory lets you startand stop recording and

navigate the systems menus

wirelessly. If connected to the

Brain, it can also charge itself.

BATTERIESThis dual-battery module pow-

ers the Brain and lets you hot-swap batteries while shooting

for extending run times when

shooting in the field.

GIF-like cinemagraphs strai

of Harry Potter. Recently, he mmotos for the James Bond fi

Skyfallmovie posters that

and breathe on a digital scre

Still cameras arent going but neither are these dual t

or the photographers who w

them. And as more people c

sume media digitally, the defor multimedia is sure to inc

Everything is going scree

based, Williams says. Therlonger any excuse for pictur

be still.

BRAINEvery Red rig is built around

the Brain, which houses the

cameras processor and

sensor. Reds latest, the 6KDragon, retails at $50,000.