I also found myself heavily rationing the 4K/120P as it really chews up your remaining shooting minutes. While our host Chris took it in his stride, I can only imagine how frustrating it would be for the talent to not know if the camera will last until the end of a take. This made shooting sustainable, though I found myself avoiding trying to capture any spontaneous establishing shots or cutaways, lest I drop the dreaded overheating clock a bit lower. Quickly I realized that setting up a shot and menu-diving would reduce the amount of record time I had for HQ, so I found myself spending far less time previewing the shot before rolling, adding a layer of stress.Įventually, I realized couldn't record all the talking points in 4K HQ, and settled on using 4K HQ for wide shots and standard, line-skipped 4K for closeups. I planned to shoot the episode in the 4K HQ mode, with occasional 4K/120P and 8K shots peppered throughout.
We shot for 10 hours at a variety of locations, which I thought would give the camera ample opportunity to cool down.
