I agree with you about the 4K.
But the think is that, even if it's not necessary, if pros start to shoots 4K, clients will ask..."but X does it in 4K".
That's the problem IMO. We may not need 4K, but if it becomes a practise standart, need or not, you'll have pressure to shoot at this resolution.
Unless some client demands 4k/5k capture and processing, I don't put much thought in it.
Sure, when I sell, I like others have mentioned future proof footage, but really our job and careers rests on shooting imagery that doesn't have 20 year shelf life.
Our roll is to produce new imagery . . . that's where the money is.
The 2k to 4k thing right now is kind of funny, because I'll bet 90% of all Red footage taken out of Cinex, is probably in 2k, most of it probably in prorezz 422.
Digital is different than film. 16mm looks small and grainy, (usually( 35mm looks smooth and rich (usually) but digital can be about anything with export post work.
Act of valor is shot mostly with 5d2's and it's beautiful, though I've heard they spent two years in post.
What I worry about with the 4k thing from a post production standpoint is if client's demand 4k/5k edits but we still downsize to 2k for viewing, we are going to increase our workload and rendering times by more than double for no real reason.
This is above my pay grade, but the world is turning to streaming video that originates through the web and is projected on everything from ipads to 40" screens.
The new I pad has what a 3k across screen, so will we all start editing in 3k? Do we need to. Do we want to?
In regards to cameras, just like still cameras, each one has it's place. I love the look of the RED's can now emulate that look with a Sony, but doesn't mean for safety and to impress on set the RED's won't be used, it just means I own them so I use what I own.
I think we all know that file sizes will increase because just like stills megapixels sell, but the difference between motion and stills is working a 40mpx still image on even a lowly G5 is not a chore, doing 4k editing on a older machine can be a nightmare, heck it can be a nightmare on a newer machine.
As far as banding, well, every camera can band, every camera can moire. I see less moire in the RED's than the Sony, but a little softer image also.
Once again I'm not knocking RED, just sating what I've seen.