FotoKem’s nextLab pushes envelope with
Gone Girl’s 6K workflow
The last piece in our
Gone Girl workflow series.
By Daniel Restuccio
Back in the fall of 2013, FotoKem was prepping and packing up one of its nextLab data field systems and shipping it to a hotel in Cape Girardeau, Missouri. This particular hotel was the off-set digital asset processing hub for David Fincher’s
Gone Girl, which is being released on Blu-ray/DVD on January 13 and has also garnered a considerable amount of Oscar buzz this season.
This movie represented a new chapter for the system — Gone Girl was about to become the first major feature film shot entirely on the Red Dragon at 6K and edited with Adobe Premiere Pro Creative Cloud.
According to Mike Brodersen, FotoKem’s chief strategy officer, nextLab has been meeting 2K and 4K bandwidth requirements on dozens of feature films and TV shows, including Fincher’s
House of Cards. “In terms of our system, we’ve been doing that kind of work for a while.” So the leap to 6K files on
Gone Girl, double the size of 4K files, was significant but manageable.
Gone Girl used up to four Red Epic Dragon cameras and generated anywhere from
3TB to 6TB of R3D files on 256GB RedMag SSD each day depending what was shooting. Those cards went directly to the nextLab ingest station where multiple cards were read simultaneously into onboard storage.
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