12k IMAGERY

3D

IMDbPRO



DAVID BUSH - LONDON, UK   david.bush@me.com   Flat 21, 70 Tavistock Road, London W11 1AN, UK . +44 7447 575 512  davidbush.org


8K MOBILE DIGITAL LAB - LONDON, UK  is a division of WOTAN FILM Ltd., 542 Uxbridge Road, Pinner, Middlesex, HA5 3QA, UK  8kmobiledigitallab.com


MIKE CONNOR  - LONDON, UK  wotanfilm@btopenworld.com   +44 7802 255 620     mikeconnorcameras.com


ALBERTO PARODI - GENOA, ITALY  - MULINETTI STUDIOS  alberto@logicalbox.com via Antonio Gandin, 70-1, 16142 Genova GE, Italy.

   +39 347 255 4249,  +39 010 860 6220      logicalbox.com


PAOLO SAVIOLO - VALLETTA, MALTA - LUX MARIS ltd. director@luxmaris.eu   171 Old Bakery Street, Il-Belt Valletta VLT 1455, Malta.

+356 7704 1824        luxmaris.eu





  



Mike and I have shot with different cameras at different resolutions ranging from 35mm film to the first digital cameras such as the Viper and virtually all other cameras in between for different projects. Each time we have worked to optimise both production and post.


In our experiences, choosing a camera today also implies choosing both it and its relative post production workflow together. Blackmagic design makes this particularly interesting with the company's Scene to Screen approach.


Since the advent of Blackmagic raw, the speed, throughput and computational aspects of using Resolve 18 on the new Apple platforms offer a quantum leap in efficiency and quality of results.


The fact that we can now edit, grade and playback 8k, and even 12k images with the new Apple M1& M2 pro and ultra processors using the latest braw player, has established yet another combined benchmark that other production / post production solutions come nowhere near to, and this works well both in the uncompressed raw formats and with proxies.


It is worth stating that Mike and I use a disciplined approach, not dis-similar to the traditions of shooting and posting with 35mm film, as that is our background. We used to have to use film sparingly, and the same applies to high resolution digital files. This enables us to work on set on a reasonably limited number of takes (the so-called "circled takes") contributing, with the other factors, to making the workflow as efficient as possible.


Another aspect, when striving towards making 8k production in high quality as cost effective, efficient and fast as possible, is that of saving the cost often associated with conversions and digital copies to other formats to accomodate different editing and colour grading systems. The free Resolve software available to editors and graders makes it very easy for Adobe, Avid, Final Cut, Premiere, Baselight etc. operators to learn how to use it, and discover that the tool sets are second to none, and much faster to use.


With modern compression, we have also found that a small amount of lossless compression can help a little too. This we nominally set at 5:1, and it is lossless - in as much as the pixel values are identical to the uncompressed version.


In conclusion, using the sum of these methods for 8k / 12k production and post production can lead to substantial savings when also using the Mobile Lab, without the overheads of traditional post production facilities.


* Native files in Braw, R3d & edit, grade etc. in Resolve.

* Oversample resolution - ie. shoot 12k for 8k or 8k for 4k etc..

* Disciplined shooting (circled takes).

* Use of lossless compression for most shots (ie. 5:1).

Some notes for producing and post producing cost effectively in 8k & 12k