Alien Runner was shot on the RED Epic-W, RED Helium, and RED Monstro with all captures at High Dynamic Range (HDR). Lenses include: Tokina Cinema Vista primes, Cooke S4/i primes, and the Laowa 12mm for wide landscapes.

Not only is Alien Runner an 8K beast, it also includes 8K Aerial and 8K Underwater cinematography. The Gates Deep Weapon system was used for the entire underwater venture. Environment and mobility were important factors in production. Camera operators utilized DJI's Ronin 2 gimbal stabilization extensively for challenging terrains.  

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The project was in pre-production for two years. Director/Writer, Abbey Abeynayake, and her technical team mapped out a secure plan that brought elements of post into the early discussions. "As an Editor, it was important to me to avoid that common saying, 'let's fix it in post.' Our post team anticipated 8K issues early on and we are staying true to the 8K workflow discussed at the project's inception, while also being flexible towards those inevitable concerns that just come up in production. " The ADC art team was challenged to achieve perfection. 8K captures EVERYTHING, so every detail was important.

It's true, 8K files are no joke. An editorial landscape for a project this large must be able to compete. One factor was for certain, the team had to maintain a native 8K workflow throughout the post pipeline. Why? Simple. Because it hadn't been done.

 

ADC isn't afraid to take risks.

Alien Runner was cut on Blackmagic's Davinci Resolve Studio with a solid digital cinema initiative 8K VFX pipeline including but not limited to: Flame, Fusion, Houdini, Maya, After Effects, and Nuke. The post team expects to register a final color grade with Assimilate Scratch and Resolve compatible for Dolby Vision.

 

​ADC can't wait to share this experience with you.

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