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 these days also implies choosing a camera and its relative post production workflow together, and no-one makes it more stimulating than scene to screen manufacturer Blackmagic design.
Since the advent of Blackmagic raw, the speed, throughput and computational aspects of using Resolve on Apple hardware 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 on the new Apple M1 processors using the braw 2.1 player, has established yet another benchmark that other production / post production solutions come nowhere near to, and this works well with the Mobile Lab we have designed.
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 efficient. Of course, all takes are backed up but for fast editing work on set only circled takes are used.
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 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.
Recording in Blackmagic raw with blackmagic cameras, 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 mean substantial savings with our expertise and using the Mobile Lab, and without the overheads of traditional post production facilities.
* Native files in Braw & edit, grade etc. in Resolve.
* Oversample resolution - ie. shoot 12k for 8k or 8k for 4k etc..
* Disciplined shooting (circled takes).
* Use lossless compression (ie. 5:1).
Some notes for producing and post producing cost effectively in 8k & 12k