Designed by David Bush and Mike Connor

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Why shoot in higher resolution than the deliverables.


Shooting in 5k, 6k, 7k, or even 8k might seem a bit like overkill on first impression.  However, there are some good reasons why it is useful to evaluate shooting in higher resolutions than most of today's 4k or less deliverables.


For example, and for many, the idea of recording 8K conjures up images of huge file sizes, long transfer times, piles of hard drives, and slow proxy workflows. There is too a misconception that 8k is vastly more expensive than it actually is. 


Even though HDR (high dynamic range) and HFR (high frame rate) are far more valuable than resolution to the consumer’s eye, there are other benefits with an 8K production which an increasing number of projects are taking advantage of, and we'll discuss some of the reasons for this below.


The table on the left shows the cameras used on the "Best" Netflix Original TV Shows in 2019, and below are a few of the recent projects that have chosen high resolution cameras and post.


Mank, directed by David Fincher was acquired 8K using the RED Monstro in Monochrome, while season 2 of Amazon’s Homecoming was also shot in 8K. Money Heist, the Netflix drama is shot in 7K (season 4) to accommodate HDR in a 4K deliverable. Sacred Games is shot in 8k, while Portrait of a Lady is shot in 7k and 8k. Doolittle is shot in 8k.

Even if the final output is going to be 4K/UHD, shooting in 8K gives you many options in post that you do not have if shooting in lower resolutions. Four times the number of pixels (compared to 4k) give vastly improved selectivity for grading, visual effects, tracking and image stabilisation, green screens, blue screens, composites, visual effects, and, of course, re-framing.


Arguably, making a production in higher resolution will also futureproof it to make it more attractive for sales in the long term. 


Importantly, and thanks to the technology of 8k Mobile Digital Lab, working with these high resolutions doesn't need to be any more expensive or time consuming than working in lower resolutions, as the main workstations and high resolution cameras are the same whether they are being used in 4k, 5k, 6k, 7k or 8k, and there is no slowdown in speed of operation at the higher resolutions. Sometimes the double ISO possibiities some cameras offer can prove to be more useful for less noise and less required light on set, over and beyond the high resolution possibilities.


The only additional cost that can be incurred is if the project is archived and backed-up in 8k, as the need to add extra storage disks & LTO 8 tapes for the additional volume of data exists.  However, it is more usual to make a final deliverable in 4k today, as an 8k conform can usually be made later using the original camera raw files, if required.


The 8K Mobile Digital Lab can connect up via internet broadband and send files of the original raw shots as they are being shot, while also backing them up to a different location, for example. This remote operation is what La Sartoria dell'Immagine has developed to work up to 8k, and which is an on-going technical and operational collaboration between the two companies.


Alessio Focardi of La Sartoria is currently editing and post producing a collective short film directed by 5 directors, produced by DADO Produzioni, shot in 8K RedRaw, and entirely managed remotely. The 8k files are uploaded directly to the cloud system and immediately shared with the 5 directors of photography, the 5 directors, the production and Alessio's remote editing room in Florence. See Florence, 8k & La Sartoria dell'Immagine.


The remote possibilities can also help satisfy the conditions that Completion Bonds often specify and may require (3 identical clones of original camera shot material in 3 different locations).


An ungraded still from the 8k collective production for DADO produzioni, currently in post production at Alessio Focardi's La Sartoria Dell'Immagine in Florence, Italy

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DAVID BUSH  david.bush@me.com   +44 7447 5755 12

MIKE CONNOR  wotanfilm@btopenworld.com      +44 7802 255 620

ALBERTO PARODI   +39 347 255 4249.  

All phones have What's App and Face Time.

 

For information and quotes in the RUSSIAN FEDERATION & EX SOVIET COUNTRIES 

contact EUGENE ZYKOV,

Owner & President of Russian Film Commission - Film-Media  

Landline tel.  +7 4956 861 888,  

Мob:  +7 9055 453 414 (also via Facetime / WeChat / Viber / What’sApp / i-Messenger) Skype: ezykov russianfilm.biz

     

For information and quotes in MALTA 

contact PAOLO SAVIOLO at LUX MARIS ltd. 171 Old Bakery Street, Il-Belt Valletta VLT 1455, Malta

tel:  +356 7704 1824

contact director@luxmaris.eu     www.luxmaris.eu


For information and quotes in ITALY

contact ALESSIO FOCARDI at LA SARTORIA DELL'IMMAGINE. via Giuseppe Mazzoni 27, 50134 Florence, Italy, tel:  +39 348 381 3901

contact alessio@alessiofocardi.com     wwwalessiofocardi.com


Designed by David Bush and Mike Connor