From an artistic point of view, 8K brings a wider field of view compared to 4K, so sports events offer a spectator’s perspective. The second benefit is the resolution that can be perceived on fixed shots. This benefit should be validated on 8K and 4K TVs for both still and moving images to determine where 8K offers the most value.  Higher frame rates are likely to be desired for 8K capture, for example.

Camera prep is of highest importance when shooting 8K, especially with a multi-camera setup. There is no cutting corners at this resolution, because an image captured and delivered in 8K doesn’t lie. Any flaws in the sensor or limitations in the frame rate will be instantly noticeable. For this reason, it is highly recommended that a full day of camera prep is set aside before the shoot itself.

The same camera prep and testing that is required for the cameras themselves should also apply to all lenses being used in the production. Any flaws and focus issues in the optics that might have been acceptable in a 4K image may render the footage useless in an 8K environment. At this level of resolution, it is preferable to use a high-quality prime lens that has perfect focus over a convenient zoom lens that might lose focus slightly when the focal length is changed. Any aesthetic considerations that might change the sharpness of the image intentionally can be done after the capture step. In otherwords, err on the side of sharpness and focus.

An 8K production is very similar to a 4K production: multiple cameras have to be installed at the venue with fiber connections to carry uncompressed 48G/s signal to the OB Van where it needs to have the broadcast production capability to mix all the sources and create a program. We see a trend to move from SDI-based productions to IP-based productions with SMPTE standard ST 2110 as a natural candidate to carry 8K over IP. The use of JPEG-XS may also become more common which will allow lossless compression to reduce data rates.