The JPEG format of each frame grab from 4K video is the same as a standard JPEG file captured in non-video mode, and the quality factors of sharpness and color fidelity are similar. (If you want large-format prints, or will need considerable cropping, then it’s back to a full-frame RAW capture with as much image data as possible.) The file size of a typical magazine cover, 8.5” x 11” at 300 ppi, is about 24 megabytes-the approximate yield of a camera offering 8 MP.
Perhaps more important, I can make beautiful 13 x 19-inch and 17 x 20-inch (approximately A2 size) prints from video frames of both cameras. The requirements for Internet publishing are far less than 4096 x 2160 pixels, the size of a 4K frame grab I actually reduce the file size further for internet use for ease of transfer and speed of viewing, and also to protect against theft of my full-size files. The question of image file quality is ultimately answered by another question: how will the images be used? Here is where my experience with both the Canon EOS-1D X Mark II and the Canon EOS 5D Mark IV can be a guide. After all, we now have Canon DSLR cameras with more than 50 MP! But the advances in DSLR capture have gone beyond file size when I compare an image from my 20D from 14 years ago to an 8.8 MP frame grab from 4K video, I see a significant improvement in quality. An 8.8 MP file size doesn’t sound usable if you consider that the last Canon EOS DSLR with a comparable yield was the EOS 20D in 2004 with an 8.2 MP sensor.
Compare this to a frame grab from the more commonly available 1080p HD video frame, which is the equivalent of a 2.1 MP camera. So just how good are these 4K video frame grabs? We have a lot of frames (up to sixty per second), but are they usable? The two Canon DSLRs that currently offer 4K video (DCI-type 4K) frame capture yield a single-frame file size of 4096 x 2160 pixels, or the equivalent of an 8.8-megapixel (MP) camera firing in JPEG format. We’ve known this was coming, and those who’ve embraced and mastered the video capabilities of recent DSLRs are ahead of the game. An entire event might be captured in video, later yielding stills for promotion or other publication.
From a video sequence of, for example, a rodeo cowboy on a bucking bronco, the photographer can select the single frame that conveys the exact moment of peak action separate, or “grab” that still from the video sequence improve it in post-capture software such as Canon’s DPP and Adobe® Photoshop® and use the resulting file in web applications or prints. Imagine what this means, not only for wildlife, sports, and other “action” applications, but also for wedding and event photographers.
All other work will be done in Premiere Pro using Essential Graphics panel It is just needed for placing footages to placeholders.