From IMAX to stereo3D, theaters have invested in various technologies to entice viewers and increase ticket sales. With a tip of the hat to the past, Barco has developed a new ultrawide, 3-screen digital projection system, which is a similar concept to Cinerama film theaters from the 1950s. But modern 6K-capable digital cinema cameras make the new approach possible with stunning clarity. There are currently 40 Barco Escape theaters worldwide, with the company looking for opportunities to run films designed for this format.
Enter Scott Waugh, director (Act of Valor, Need for Speed) and co-founder of LA production company, Bandito Brothers. Waugh, who is always on the lookout for new technologies, was interested in developing the first full-length, feature film to take advantage of this 3-screen, 7:1 aspect ratio for the entire length of the film. But Waugh didn’t want to change how he intended to shoot the film strictly for these theaters, since the film would also be distributed to conventional theaters. This effectively meant that two films needed to come out of the post-production process – one formatted for the Barco Escape format and one for standard 4K theaters.
6 Below (written by Madison Turner) became the right vehicle. This is a true life survival story of Eric LaMarque (played by Josh Harnett), an ex-pro hockey player turned snowboarder with an addiction problem, who finds himself lost in the ice and snow of the California Sierra mountains for a week. To best tell this story, Waugh and company trekked an hour or more into the mountains above Sundance, Utah for the production.
To handle the post workflow and co-edit the film with Waugh, editor Vashi Nedomansky (That Which I Love Destroys Me, Sharknado 2, An American Carol) joined the team. Nedomansky, another veteran of Bandito Brothers who uses Adobe Premiere Pro as his axe of choice, has also helped set up Adobe-based editorial workflows for Deadpool and Gone Girl. Ironically, in earlier years Nedomansky had been a pro hockey player himself, before shifting to a career in film and video. In fact, he played against the real Eric LeMarque on the circuit.
Pushing the boundaries
The Barco Escape format projects three 2K DCPs to cover the total 6K width. To accommodate this, RED 6K cameras were used and post was done with native media at 6K in Adobe Premiere Pro CC. My first question to Nedomansky was this. Why stay native? Nedomansky says, “We had always been pushing the boundaries at Bandito Brothers. What can we get away with? It’s always a question of time, storage, money, and working with a small team. We had a small 4-person post team for 6 Below, located near Sundance. So there was interest in not losing time to transcoding.
After some testing, we settled on decked out Dell workstations, because these could tackle the 6K RED raw files natively.” Two Dell Precision 7910 towers (20-core, 128GB RAM) with Nvidia Quadro M6000 GPUs were set up for editing, along with a third, less beefy HP quad-core computer for the assistant editor and visual effects. All three were connected to shared storage using a 10GigE network. Mike McCarthy, post production supervisor for 6 Below, set up the system. To keep things stable, they were running Windows 7 and stayed on the same Adobe Creative Cloud version throughout the life of the production. Nedomansky continues, “We kept waiting for the 6K to not play, but it never stopped in the six weeks of time that we were up there. My first assembly was almost three hours long – all in a single timeline – and I was able to play it straight through without any skips or stuttering.”
There were other challenges along the way. Nedomansky explains, “Almost all of the film was done as single-camera and Josh has to carry it with his performance as the sole person on screen for much of the film. He has to go through a range of emotions and you can’t just turn that on and off between takes. So there were lots of long 10-minute takes to convey his deterioration within the hostile environmental conditions. The story is about a man lost in the wild, without much dialogue. The challenge is how to cut down these long takes without taking away from his performance. One solution was to go against the grain – using jump cuts to shorten long takes. But I wanted to look for the emotional changes or a physical act to motivate a jump cut in a way that would make it more organic. In one case, I took a 10-minute take down to 45 seconds.”
When you have a film where weather is a character, you hope that the weather will cooperate. Nedomansky adds, “One of our biggest concerns going in, was the weather. Production started in March – a time when there isn’t a lot of snow in Utah. Fortunately for us, a day before we were supposed to start shooting, they had the biggest ‘blizzard’ of the winter for four days. This saved us a lot of VFX time, because we didn’t have to create atmospherics, like snow in front of the lens. It was there naturally.”
Using the Creative Cloud tools to their fullest
6 Below features an extensive percentage of visual effects shots. Nedomansky says, “The film has 1500 shots with 205 of them as VFX shots. John Carr was the assistant editor and visual effects artist on the film and he did all of the work in After Effects and at 6K resolution, which is unusual for films. Some of the shots included ‘day for night’ where John had to add star plates for the sky. This meant rotoscoping behind Josh and the trees to add the plates. He also had to paint out crew footprints in the snow, along with the occasional dolly track or crew member in a shot. There were also some split screens done at 6K right in Premiere Pro.”
The post schedule involved six weeks on-set and then fourteen more weeks back in LA, for a 20-week total. After that, sound post and grading (done at Technicolor). The process to correctly format the film for both Barco and regular theaters almost constituted posting two films. The RED camera image is 6144 x 2592 pixels, Barco Escape 6144 x 864, and a 4K extraction 4096 x 2160. Nedomansky explains, “The Barco frame is thin and wide. It could use the full width, but not height, of the full 6K RED image. So, I had to do a lot of ‘animation’ to reposition the frame within the Barco format. For the 4K version, the framing would be adjusted accordingly. The film has about 1500 shots, but we didn’t use different takes for the two versions. I was able to do this all through reframing.”
In wrapping up our conversation, Nedomansky adds, “I played hockey against Eric and this added an extra layer of responsibility. He’s very much still alive today. Like any film of this type, it’s ‘based on’ the true story, but liberties are taken. I wanted to make sure that Eric would respect the result. Scott and I’ve done films that were heavy on action, but this film shows another directorial style – more personal and emotional with beautiful visuals. That’s also a departure for me and it’s very important for editors to have that option.”
©2017 Oliver Peters