Mixing 4k footage with 1080p for reframing question.

So, I am looking to purchase a third camera for use on my event shooting. I can justify the cost if I can sell of two of my back up cams, and my 2000$ sony G 70-200.

In order to pull this off, I need to be able to have this sort of range. I am looking in to getting the BM 4k camera (to use on my narrative work) but would like to use this camera to replace what I would normally use the 70-200 on. Theoretically, I can use a shorter, cheaper, and more convenient lens while shooting 4k, and then reframe this shot to equal the same range as the 70-200. (It's only used for one specific shot in my events, and won't slow my post work down much).

My question is, is there a solid way to edit in a 1080 timeline, and use this 4k footage in a multi camera edit, reframe the 4k as needed then export the master to HD 1080?

***this mulitcam edit will consist of two 1080 cameras, and the 4k camera.

If you're not delivering 4K, there's no real reason to shoot 4K. Shoot HD, deliver HD. Why create unnecessary headaches? The BMD will also shoot HD, not only 4K.

But if you really wanted to, you can simply drop a 4K into a 1080 timeline and edit away. It just eats up more horsepower. I've done it with RED 4K, mixing it with DSLR HD. Nothing special to do, just edit.

For multicam, I'd make everything HD, though. You're talking about major horsepower throwing 4K at that. If I were to do a 4K multicam, I'd make proxies and do the original rough edit and trims with proxy. Switch to 4K for color grading and output only.

I'd wait to see real world reviews of how the BMD Production Camera does in low light before buying one for event work.

BenB wrote: If you're not delivering 4K, there's no real reason to shoot 4K. Shoot HD, deliver HD. Why create unnecessary headaches? The BMD will also shoot HD, not only 4K.

But if you really wanted to, you can simply drop a 4K into a 1080 timeline and edit away. It just eats up more horsepower. I've done it with RED 4K, mixing it with DSLR HD. Nothing special to do, just edit.

For multicam, I'd make everything HD, though. You're talking about major horsepower throwing 4K at that. If I were to do a 4K multicam, I'd make proxies and do the original rough edit and trims with proxy. Switch to 4K for color grading and output only.

I'd wait to see real world reviews of how the BMD Production Camera does in low light before buying one for event work.

I totally agree with the philosophy in most circumstances. Thing is, I am prepping for my thesis film, which I plan to shoot in 4k RAW, in order to create a 2k DCP, and also master files for disc/web delivery.

So, I am selling off a couple Bcams and huge lenses to cover the cost. The only reason I will shoot 4k during events, is when I need the 70200... that will be replaced with the BM4k, with reframing in post on a shorter lens. More work in post, but it's only used for one shot and shouldn't add too much more to my editing. It's a sacrifice i'm willing to make for now, in order to get my hands on a RAW workflow for my upcoming narrative piece.

So I take it that the purpose then is to gain experience in actually shooting 4K and not necessarily editing it. You can conform that footage to FIT the 1080 project with no problems and edit as if it were 1080. And yes, proxies will help the edit speed for sure.

dgwvideo wrote: So I take it that the purpose then is to gain experience in actually shooting 4K and not necessarily editing it. You can conform that footage to FIT the 1080 project with no problems and edit as if it were 1080. And yes, proxies will help the edit speed for sure.

Does anyone even read the posts before replying around here?

My question is, is there a solid way to edit in a 1080 timeline, and use this 4k footage in a multi camera edit, reframe the 4k as needed then export the master to HD 1080?

Yes there is. We have been mixing 4K and 1080 resolutions since the RED cameras appeared, and since the latest updates of FCPX this workflow has become much more straightforward, also for multi cam. As you say, using 4K resolutions in a 1080p workflow allows directors to do some significant reframing during the edit without any quality loss, and in some cases this can enhance an edit. Nothing beats proper framing during the shoot, but if you have been working in film and television post as long as I have you know that this is not always the case (understatement). I have seen many occasions in which reframing in post has saved an edit.

Back to topic: the BM camera can record to 4K ProRes and FCPX works extremely well with this. As other posters already have mentioned you will need to use a performant system and a fast RAID to stream this kind of footage, especially when doing multicam work. Fortunately FCPX also allows you to use a flexible Proxy workflow that is unique in the NLE world.

In FCPX you can happily mix different frame sizes in multicam work, so that won't be an issue either. Once you have cut up your multi clip in the timeline you can easily reframe any 4K clip and export as a high quality 1080p master.