That’s how long the movie is: 146,544 frames. If it was printed on film it would run 9,159 feet.
How do I know this? Well I suppose every filmmaker should know how long their locked picture is; I am in the middle of preparing the digital cinema package should it be required for exhibition. Fortunately I’m not under any imposing deadline, so I’m hoping to get a chance and test it out to make sure everything’s synchronized.
I’ll be using OpenDCP to put the package together using the TIF images I just rendered (it took 27 hours to render the entire film as 146,544 individual TIF images).
I’ve submitted the film to 20 North American film festivals thus far. Some of them require a DCP for exhibition, and some of them only need a blu ray or thumb drive. In preparation for the various exhibition requirements I’ve been mastering the film in different formats; thankfully I have the time to do so as the process is labor-intensive (mostly for the computer).
I also spent much of September upmixing the audio to 5.1 surround. This was a pretty complicated procedure, which, in hindsight, I should have been ready for. Originally the film was mixed to stereo — which is not a big problem. However, after the stereo mix I made about 45 final edits to the film, cutting out some awkward pauses and tightening some scenes up. So not only did I have to split my stereo stems into six channels each, but I had to individually render each of the 18 channels to the new [locked] cut of the film, then render my L, R, C, LS, LR and LFE channels to final submixes.
OH AND THEN, because the film was shot, edited and mixed at 23.976 fps, I had to conform everything to 24fps, which involved stretching my audio submixes and rendering them again as my final 5.1 surround channels.
Honestly there were about four other steps which I’ve purposely left out of the preceding explanation. Most of the month was actually spent waiting for files to render.