The 6K Native Workflow for '6 Below'

"The challenge of 6K is a brand new beast!"
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"The challenge of 6K is a brand new beast!"

Editor Vashi Nedomansky details the postproduction process for the action feature

6 Below

on his


: "I have cut many music videos and short films in native 4K (RED, Samsung, Canon, Sony) but the challenge of 6K is a brand new beast! 6K files are nine times larger than HD." To read his first entry,

click here


The film's director, Scotty Waugh, "decided to do all of postproduction natively with the original 6K Red RAW Dragon files. No transcoding. No proxies. No offlining. We would edit this film at 6K and do all VFX at 6K in house as well," 

Nedomansky recalls.

"This had never been done before on a feature film. I don’t think anyone would have been crazy enough to try it! Native 4K editing can bog down a hefty system on even the shortest form project. Even compressed HD h.264 files can make a fast laptop choke on its dinner. We were going to have a 97-minute timeline filled with nothing but 6K R3D RAW files and at least 24 tracks of audio.

"What post production workflow / software / hardware could handle that much data, storage and information shared across four workstations for an entire year and not fail?

"That was the unknown situation and challenge which was presented to us. It was our job to find the solution and make it work…because no one had ever done it before." To read his full account of the film's post,

click here


How I Created the First 6K Native Workflow for a Hollywood Feature Film

Filmmaking Team Delivers Panoramic, 6K Experience in 6 Below

First Look: 6 Below

Making 6 Below for Barco Escape



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