You have me fascinated. I have been looking to put together some systems for doing an 8K project and I have not been able to get anywhere near that price. What cameras were used? How many hours of footage did you have and how much disk space did it take? You edited this in Premiere Pro and graded in Resolve, using an 8K grading monitor? If so, which one?
Would you post your system specs, so that others can duplicate them?
I am curious of two things though: 1) as an indie feature where cost matters, what benefit did you get from shooting in 8K vs. the cost of data management for all those extra bits? 2) Why would you not use a proxy workflow, editing in something lighter weight and then do a conform before final color? Premiere has a great workflow for that, and it would mean so much less online disk space to manage, and lower power requirements.
I shot on a Red Epic-W with Helium sensor in 8K raw but resolution wasn’t exactly by choice. This was the camera package available to the production and is more camera than I would have ordinarily opted for. The issue with this sensor is that shooting anything less than 8K is simply cropping in-camera. I come from a full frame photography background and am known for shooting ultra-wide, so I didn’t want to lose any of the (slightly larger than super-35) frame. Shooting 4K in-camera was essentially a 2x crop and I couldn’t bring myself to throw away so much of such a wonderful sensor’s image. Especially when I could do that in post if I wanted to.
I shot with a slightly higher amount of compression on the raw than you would if shooting 4 or 6K, so that helped a bit with data. I’d lighten up on the compression if I felt there was the possibility of punching into a shot in post.
There is a single 14 minute shot in the movie that I knew we couldn’t do without 8K and had always planned to bring in an 8K camera for that day, so it helped that that was our camera from the start. It’s a simple, static dialogue scene that punches in from 8K to 4K over the full 14 minutes... it makes the scene more intimate as it goes on, but is pushing in so slow that you can’t even see it happening unless you watch in fast forward.
Data-wise, the footage is on 18TB of storage with an identical 18TB backup. Post production was done on an additional 8TB with 8TB backup. That’s 52TB all-told, not including the score composer’s data or sound designer’s data, which are the only things that weren’t done on my Windows desktop. Score was recorded and mixed on a Windows gaming laptop that the composers also use to play live gigs. Sound design was done in 5.1 in a studio with a Hackintosh tower. When they recorded any ADR they’d switch to a trash can Mac Pro for less fan noise.
My Windows setup is nothing special. I believe it’s just an i7 6700k with 32gb DDR4. GPU was upgraded to only a 1070 8GB with the GPU ram being the key factor.
I attached camera-recorded proxies to the footage in Premiere for editing as you mentioned, absolutely, but the key for me was retaining the full 8K RAW in Resolve for the color grade. That’s where systems will buckle. The final movie is mastered in 4K and the 1070 8GB was the least expensive card that Resolve would use to render the heavily colored 8K footage down to 4K at the highest quality debayering. I was lucky to get 3fps on the render speed and would often get half that.
The monitor was just a calibrated photo monitor at 1080p. I’d have to zoom in to check for noise/sharpness. Using a photo monitor for film is pretty much heresy, but I’m very adjusted to this screen and have seen content from it in several theaters and it is always dead-on what I see at home. While the final movie is 4K, I kept to rec709 color as we are simply too small to ensure proper color through every single pipeline.
In fact, even after painstakingly ensuring that the master was 4K, the movie premiered in only 2K at the Tribeca Film Festival. Most small indies will play in theaters at 2K as the cinema format (DCP) isn’t ideal at downscaling a 4K source and having two theater prints is an unnecessary expense when the festival circuit still has a ton of 2K projectors. Some festivals even play off 1080p blu-rays (which is why my desktop’s Blu-ray burner still gets a ton of use).
Many distributors overseas don’t even want the 4K master. My distributor in the US will thankfully be providing it to iTunes and other 4K platforms eventually.
The title of the movie was changed from SOMETHING ELSE to “AFTER MIDNIGHT” after our premiere, which required a new master and cinema file. I was able to convince the team to go 4K on the new cinema file and I finally saw my movie in 4K for the very first time at Fantastic Fest in Austin last week. I’ll be honest, it looked maybe 15% better than the times I saw it in theaters at 2K. The optics on cinema projectors just don’t show pixels like backlit screens.
I wouldn’t recommend mastering anything in 8K anytime soon. Not even Hollywood is doing that yet (the FX budget would be astronomical). The real benefit of 8K cameras is simply the flexibility you have in post.
I’ll probably shoot my next movie in 4 or 6K and master to a crisp 2K unless we have a sizable post budget/larger team.