The camera says 4K. That leaves a lot out.

4K describes frame resolution. It does not tell you the codec, bit depth, colour profile or amount of compression. Two cameras can both record 4K while producing files with very different sizes and editing flexibility. The specification sheet needs to be read as a set of separate decisions rather than one quality score.

Apple’s ProRes documentation describes a recording format designed to preserve editing flexibility, while supported iPhone models also offer HDR, SDR or Log recording options. ProRes is a codec choice; Log describes a flatter image encoding intended to leave more room for colour grading. Neither term by itself tells you the resolution or frame rate.

More image information usually costs storage and processing time. ProRes files can be substantially larger than highly compressed delivery formats, and the available recording modes vary by iPhone model and storage path. Apple documents that some models can record directly to external storage, while other combinations require particular cable speeds or supported software.

Log footage can look low contrast before grading because it allocates tones differently from a finished display image. It needs a colour-managed workflow and a compatible transform or manual grade. If you only want a clip ready to share, a standard profile may be easier and use less space.

For casual capture, prioritize stabilization, autofocus, frame rate and a manageable file format. For a multi-camera edit or detailed colour work, confirm that all cameras share a usable frame rate, colour space and exposure workflow. Then check the recording duration allowed by storage, heat and power limits.

Before a shoot, test the exact mode on the camera and app you plan to use. Verify the file in your editor, confirm that audio is recorded as expected, and leave enough storage for the chosen codec. These are device-specific checks: a general label such as “4K Pro” does not promise a particular workflow across products.