Reframing

What this is about

Shooting 4K for an HD delivery leaves room to push in, straighten a horizon or turn one wide shot into two different sizes. Editors use it to rescue a composition, to build a second angle out of a single-camera interview, or to produce a vertical version. The reserve is finite: once the crop exceeds what the resolution allows, softness appears, and stabilisation eats into the same budget. Reframing also cannot recreate depth of field or perspective, so a cropped wide shot still looks like a wide shot.

A term only helps when everyone on set means the same thing by it — so what follows is how it is used, not a dictionary definition.

What runs differently here

In planning terms, that means:

• Shoot larger than the delivery format when reframing is expected — 4K for an HD master
• Stabilisation consumes the same crop reserve; plan for one or the other, not both at full strength
• A crop changes size, not perspective; a pushed-in wide shot never becomes a real close-up

With TillyGen

If the deliverables in the plan include a vertical cut, the decision to shoot with crop reserve is made during planning rather than in the edit suite.

Change one constraint and the consequences travel through the whole plan: affected shots are flagged, the call sheet is regenerated, and nobody keeps working from yesterday's version.