Speed Ramping - Rates?

[Remy Carter]

If you are setting cameras right next to each other for a two shot and a CU then you could just shoot 4K and then in post zoom in to get the CU. Coppola did this in his new film and he shot with Sony F950 I think...

 

[Obin Olson]

sounds like a cool project, what names are you using in the film?

 

[Dwight Rhodes]

12 Camera Plan

12 Camera Plan

A couple of thoughts.
I see what you are aiming at – it’s the holy grail – movie efficiency. But you should consider a few factors. By shooting 4 cameras at once, you’re placing a great deal of pressure on you’re lighting and sound crew. The gaffer has to light the wide and the tight at the same time. This is not always the best route, depending on the look of the film. The sound crew will have to wire everyone and record close-up sound on all shots. I hope you have allowed for a generous sound budget, as you will need at least a 3 person crew, perhaps even four. It could work, but with body mics on all of the actors, clothing noise can quickly become a major issue. Plan ahead, as the material of the costumes can dramatically effect whether the body mics will even work. You will have to record each actor on a separate track to maximize the usable sound. And you must budget for ADR. This scenario is going to generate situations where the sound doesn’t work, but the visual does.
The other issue is timing. If you are expecting to whip your actors from scenario to scenario in quick succession, you may discover that your performances suffer. I am suspicious that between what most films now do, and what want to do, you will find a sweet spot. But it will likely be at a much slower pace then you expect.
Why don’t you test out your scenario in the backyard with a bunch of cheap video cameras. A dry run could really help on film day. Look closely for the holes in your new method. Once you start shooting for real, it becomes much more difficult to adjust.