David Fincher Social Network Adobe conform

[Dominique Grenier]

And another request for After Effects as an finishing tool:
I really don't get, why every cut gets a seperate layer. I also do compositing and grafics work in AE but I really don't get the advantage of that. It would be great to have the possibility to put several cuts on one layer, to make the comp smaller and to apply effects to multiple layers that need the same adjustments. At the Moment if I change for example a curves adjustment in one clip I have to manually copy and paste it to all the other clips that are supposed to have the same adjustment. Makes it really hard to simply try something and undo it. If it isn't for a reason I can't emagine impossible to do so what about thinking about layer groups like sub mixers in Audio Software and then be able to apply effects to each group. The architecture, that as I said, doesn't make sense to me would stay the same, but you'd be able to change Adjustments of multiple Clips/layers with just one click.

Maybe I don't understand what you want, but isn't Adjustment layers what you want/need?

 

[Kim Frank]

Adjustment layers do affect all layers below the adjustment layer. But what if you only want layer 3,5 and 7 below the Adjustment layer to be effectet? You always would need to trim it for the clips you want to be affected and this causes several adjustment layer clips on different layers and you would again need to make your changes for each and every Adjustment layer clip.

 

[Tom Lowe]

I had posted this link in the other thread, but here's my interview with the various folks involved in post:

http://digitalfilms.wordpress.com/2010/10/02/the-social-network/

- Oliver

Thanks, Oliver. Great piece.

That was a pretty epic little video interview piece Adobe put up with Fincher as well! It gets me excited about the future.

 

[Sanjin Jukic]

Thanks, Oliver. Great piece.

That was a pretty epic little video interview piece Adobe put up with Fincher as well! It gets me excited about the future.

And they did it all on a Mac version of Adobe AE and Premiere.

Also they were using PIX system on a Mac to communicate between Fincher, crew and post...

 

[ericyoung]

I will be in seattle in December with a few other guys... Maybe we could consider getting together and talking workflows? send me a private message

Cheers

Dave

Hi David

Sent you a PM about Premiere Pro

Cheers
Eric

 

[ericyoung]

David - sent you another PM.

Thanks
Eric

 

[Peter Moretti]

I read the write ups and watched the videos, but I'm still unclear w/ some aspects of the workflow. I was wondering if someone could clarify a little bit.

FWIU, the cutting was done in FCP and the cuts were conformed back to the original .R3D's in CS5. In CS5, AE and other Adobe tools were used to apply effects, retouch, etc. But also it seems that a lot of visual effects were done at specialized VFX houses not using CS5.

So my ? is how were the VFX shots added to the final cut? Were they conformed into the final cut in CS5, or were they sent to Light Iron and added into the final cut there?

Put another way, was a flat 2K DPX file sent to the final grade? Or was a flat 2K DPX file of the final CS5/FCP cut plus a bunch of VXF clips sent to the final grade?

Thanks much.

 

[M Most]

write ups and watched the videos, but I'm still unclear w/ some aspects
So my ? is how were the VFX shots added to the final cut? Were they conformed into the final cut in CS5, or were they sent to Light Iron and added into the final cut there?

Put another way, was a flat 2K DPX file sent to the final grade? Or was a flat 2K DPX file of the final CS5/FCP cut plus a bunch of VXF clips sent to the final grade?

Thanks much.

It sounds like you're making the assumption that the VFX were done by the time the DI began. On most large productions this is rarely the case. Newly finished shots and revisions arrive throughout the DI process and are integrated as necessary, right up until the final render. And sometimes beyond. I'm not saying that's what happened on this picture, but it is what usually happens on large productions, especially VFX heavy ones.

 

[Peter Moretti]

Michael, I know this is a very hard ? to answer, but about how long would you say the DI processes normally takes? I'm assuming a few days to a week or so at the longest. Is that pretty accurate?

I'm sure it varies by project, budget and people involved, but if you could give some type of a base line guess, that would be nice to know.

Thanks.

 

[M Most]

Michael, I know this is a very hard ? to answer, but about how long would you say the DI processes normally takes? I'm assuming a few days to a week or so at the longest. Is that pretty accurate?

I'm sure it varies by project, budget and people involved, but if you could give some type of a base line guess, that would be nice to know.

Thanks.

It does vary greatly. Some studio pictures will take as much as 4 to 6 weeks of color work. Most lower budgeted features take anywhere from 5 to 10 days of color work, but that doesn't include scanning time (for a film shot feature), conforming (anywhere from 3 to 5 days, especially on a film feature), rendering (usually pretty quick and, of course, not supervised), creation of the DCP and any associated trim pass, creation of the HD video version and any associated trim pass, or the time involved in film recording or any film timing trims. Television programs, by comparison, are usually done in anywhere from 8 to 10 hours for a typical 40+ minute show, not including playing back for the client and any associated fixes. Now, you might the the level of perfection expected is severely compromised given that kind of quick turnaround. You'd be wrong.