The Debate: Should You Switch to 4K Video Production?

Producing 4K video in 2014 isn’t as difficult as it sounds, but that doesn’t mean everyone should jump in. The transition involves buying new cameras, and possibly upgrading your computer hardware (especially if your current equipment struggles with HD). On one hand, 4K cameras can be less expensive than HD-only options. On the other, if you already own capable HD cameras, the financial sting of buying new ones will burn a little more. Here’s the central issue: if you don’t go 4K now, it could seriously impact the shelf life of your productions in the not-too-distant future. So the question is, as a content producer, should you make the switch to 4K or wait it out?

Question #1: Why should you go 4K?

There are many pertinent answers to this question, but I think the most meaningful one is to future-proof your current projects. We’re a long way away from the widespread adoption of 4K in broadcasting, but you need to consider the full lifespan of your work. If 4K video streaming eventually becomes the preferred format for casual viewers, you can make sure they’ll consider watching your content now by shooting in 4K.

Another valid reason to go 4K is to stay current and ahead of the crowd. This isn’t about bragging rights. If you were involved in video production during the transition from SD to HD, you already know how important a shift like this is. Getting in early and adjusting to the new workflow, rather than putting it off and falling behind is often the preferred route, especially considering there isn’t an insurmountable price barrier involved. Besides, with 4K equipment, you can capture your footage in ultra-high resolution, and deliver in HD. You gain the ability to produce in multiple formats, and you don’t give up anything (except the cash spent on new gear).

There are also creative benefits involved with shooting in 4K for projects that you plan to deliver only in HD. A 4K image is four times larger than a 1080p image (check out my original graphic at the top of this post that illustrates the size difference). This gives you the option to shoot wide on set, and then crop in later in post—without giving up a hair of 1080p resolution. You can automate crops that pan across the frame, which creates a dolly-like effect, or you can do things like zooming in or out, and making Ken Burns-style effects. With a talking head shot, you can frame a wide shot, and in post you can punch in on the same footage for tighter shots, essentially getting a mulit-camera setup from a single camera. It should be noted that when you crop in, you will no longer be able to blow that footage back up to 4K, so these creative benefits are strictly for projects that will remain in HD, foregoing the benefit of future-proofing.

Question #2: Is 4K equipment expensive?

In the grand scheme of things, 4K-capable gear is surprisingly affordable. Is this equipment more expensive than a four-course meal at a burrito shack? Yes. But, the fact that you can put together a kit consisting of two or three cameras that will deliver stellar 4K imagery (in the right hands) for relatively little dough is truly exciting. I’ll break down a few key options—because the new 4K cameras are an important factor in the debate.

Your “A Cam” – The Panasonic GH4

Sure, there are higher-quality 4K cameras available on the market, but Panasonic GH4 provides the absolute best bang-for-the-buck. It natively records 4K footage on SD cards in both UHD (a slightly more TV-friendly aspect ratio) and DCI (a more cinematic aspect ratio) in 24 and 30p. You can adapt a massive variety of lenses to its Micro Four Thirds mount, and there are some excellent dedicated Lumix lenses to choose from (the 12-35mm, 24-70mm equivalent f/2.8 with Power O.I.S. would be my first choice). It’s got an 1/8″ mic input and a headphone output. The GH4 just rocks, and considering what it can do, it’s just a crazy deal at $1600 (without a lens).

Your “B Cam” – The Panasonic LX100

The LX100 is a brand new high-end point-and-shoot camera, but it’s essentially a GH4 in a compact body with a fixed 12-35mm f/2.8 lens (again equivalent to a 24-70mm lens). It doesn’t have the ability to shoot DCI 4K, but it can natively shoot and record UHD 4K at 30p. The LX100 also doesn’t have image stabilization, but this is your B Cam. Put it on sticks, frame a nice shot, and if you need camera movement, grab it with your GH4 and 12-35mm lens with Power O.I.S. Man, I’m totally jealous of all of this great gear you have!

Your “C Cam” – The GoPro HERO4 Black

The GoPro HERO4 Black doesn’t need any introduction. It’s by far the most famous camera of the bunch. What makes the GoPro cameras stand out from the crowded market is the excellent picture they provide, and the healthy ecosystem of accessories and mounts that are available. The reason it’s a suggested camera for 4K production is that the latest flagship model, the HERO4 Black, is capable of shooting 4K UHD footage at 30p.

This camera doesn’t come without compromises. First of all, it doesn’t have an LCD screen or a viewfinder. You either need to use your smartphone and the GoPro app to frame your shots, or, a better way to go is to buy the GoPro LCD Touch BackPac accessory. Other drawbacks include short battery life, a somewhat confusing user interface, and massive, memory-card-devouring files from your 4K footage.

Another unsettling drawback to the HERO4 Black is that the lower-end model, the HERO4 Silver, is actually a better deal. Unlike the HERO4 Black, the Silver model features a built-in LCD touchscreen. This means that you don’t need the $99 LCD Touch BackPac accessory. To add to the pain, the Silver model is $100 cheaper. But, the problem with the Silver is that it only shoots 4K footage at a maximum of 15p, which is an inadequate frame rate for most applications. If you’re upgrading your kit to 4K, you need to go with the Black.

With the negatives out of the way, GoPro cameras are amazing tools to have at your disposal. They’re tiny and super lightweight. They’re great for C camera purposes, time lapses, aerial footage, and for getting shots that would be otherwise impossible with larger cameras. Most savvy content producers have already incorporated these cameras into their workflow at this point. So, whether you go 4K or not, it makes total sense to pick up at least two of these cameras and start using them in your work.

Question #3: Can your computer handle 4K production?

The answer to this question depends largely on what kind of computer you’re presently using. My computer is five years old. It struggles when I’m putting together a 1080p video that’s over five minutes in length. If you’re in my position, the answer is no. This is one of the reasons why I’m struggling so much with this decision. I’m looking at the cost of upgrading my cameras, my memory cards (4K footage demands ultra-fast cards, and the large file sizes require larger capacities) and my computer. Because I haven’t been down this road yet, I’m not sure if there are more costs involved. For example, will my external FireWire 800 7200 RPM Glyph drive be able to keep up with the demands of 4K production? I honestly don’t know.

I’ve heard that people with relatively young computers have been able to switch from HD to 4K without much trouble. Apparently, Adobe Premiere and Apple Final Cut Pro X can adapt to 4K footage without breaking a sweat. My computer is an older laptop, and I edit with a rather ancient version of Final Cut. I want to start learning some basic After Effects, so I have no choice. I need a beefier machine. The ability to produce in 4K is just a fringe benefit for me.

I’ve looked into getting a new, trashcan-style Mac Pro, but any way I slice it, that computer is just completely out of my budget. I’ve also looked into Windows desktops as alternatives, but when I start adding up the amount of processing power, RAM, and graphics cards I need, the price tag starts nipping at the heels of the Mac Pro. The point of investigating Windows options was to save a buck, but, in my research, the savings just aren’t there. Not enough to switch to Windows, anyhow. Yuck.

In my case, the Apple iMac with Retina 5K display is looking like it will be the next computer I buy. I think it will be able to give me the muscle I need for 4K production and my light After Effects work. I am going to bump the processor up to the i7 quad, and get the graphics card upgrade as well. For RAM, I’ll get the cheapest option from Apple, 8GB, and upgrade it to 32GB with third-party sticks. Keep in mind that this is just my situation. If your computer is younger, it’s likely worth it to see if it can handle 4K production before you upgrade.

The verdict: who wins the debate?

Because I need to buy such an expensive computer, I will not be buying a Panasonic GH4 or LX100 right away. As much as I would love going all the way with 4K, I simply don’t want to sink that much money into it all at once. That said, I will be upgrading my computer soon with the intention of eventually transitioning to a 4K workflow. If my budget permits, I will also be buying two GoPro HERO4 Black cameras (and based on advice from a knowledgeable source, I will likely also buy two GoPro LCD Touch BackPacs). This way I can start shooting mini 4K productions right away, and upgrade my main cameras to 4K models down the road a bit.

It’s not an easy decision. To make matters more frustrating, most high-end smartphones on the market these days are capable of shooting 4K video. The OnePlus One is even capable of shooting your choice of DCI or UHD 4K, and that phone costs a paltry $300 unlocked. It’s just not fair! Consumer telephones have more muscle than professional video cameras. Thanks a lot, universe.

Either way you go, just keep your eyes on the prize. It’s not the resolution that counts, it’s the quality of the content that you decide to put on screen. The nagging issue is if your audience becomes 4K snobs as quickly as they decided they favored HD programming. You need to give them what they want. Even if this is years away, you can start producing content for them immediately. But who knows? Maybe this whole 4K thing is a big bust. It’s a gamble, and I’m in.