How a Fashion Photographer Uses the GH4 4K Footage

There’s lots of talk online about 4K footage. Some photographers have been using 4K footage for years with cameras like the Red while others (me included) have been waiting for a more affordable solution and found it in the GH4. Yet there are those that don’t understand how to use 4K footage so to help the community of photographers understand video, in particular 4K, I’m going to be having an in depth conversation on SCBP about 4K. Consider this the first of many posts.

Pulling frames from 4K is the obvious way to use the footage. Yes, 4K is roughly 8MP per frame of video which means it’s lower res than shooting a still frame that takes advantage of the entire sensor. That said, there’s been hundreds of magazine covers that are frames pulled from 4K video. For magazines all you really need is 8MP for a cover or full page image so 4K just hits the sweet spot for publications.

In this video Award Winning artist Dado Valentic discusses how he’s using the GH4 on productions where the scope of the job requires pulling frames from video and how they’re able to combine frames into unique compositions.

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About Giulio Sciorio

Since 2009, Hybrid Photography pioneer Giulio Sciorio has been blending still + motion & sound with his photography. Giulio is a Lumix Luminary, commercial photographer and founder of - the resource for everything Hybrid. A portfolio of Giulio’s hybrid work can be found at

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One Response to How a Fashion Photographer Uses the GH4 4K Footage

  1. T N Args June 24, 2014 at 8:31 pm #

    Thanks for this article, Gulio. I really enjoy learning how still photography and photographers are not standing still (pun :)). There are actually new ways emerging to solve the photographic/photovisual challenge. It is interesting to see how companies with a strong video history are leading the way, even for *still* photographers who are keen to keep moving forward.

    Which group of still photographers do you think is leading the way — professionals, or amateur enthusiasts? From my amateur seat, it looks like the professionals are pushing the boundaries, which is so unusual, maybe driven by the changing market for their services? While the amateurs, the vast bulk of us at least, seem overly obsessed with the biggest pixel counts, lowest high-ISO noise, and sharpest corners of lenses, and usually turn to the legacy camera companies.

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