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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Fincher cropping style

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Patryk Kaflowski

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Hi
I know that Fincher use guidelines to frame lower area and hace more flexibilty in post. I found that picture from behind of scenes of Girl with Dragon Tatoo.
https://ibb.co/7jHVbDS
I'm very curious why they use 4k and crop it (probably to 3k or something like that) and why the didn't use 4.5k and crop to 4k (to get extra space)?
And why there is no "4k" but ther is "4kos"? what this is mean?
 
I'm not sure why they used 4k instead of 4.5k, but I think 4k OS means 4k Open sensor, otherwise known as Open Gate or Full Apeture.
 
I usually shoot 8k with a 7k extraction, master in 4k. Gives me just enough wiggle room for reframing etc. I have a tendancy to not shoot my wides wide enough, so it's a good fall back for me! LOL!
 
You can make a custom chart like this and tailor it for any aspect ratio you want to ultimately crop to:

x0MBlQh.jpg
 
Phil Holland said:
It was a 4.5K negative, with 3.6K extraction. And the did have eventually a Epic Mysterium-X 5K at some point through the production.

Good info here:
https://library.creativecow.net/article.php?author_folder=kaufman_debra&article_folder=The-Girl-with-the-Dragon-Tattoo&page=1

Fincher these days is shooting I think 8K 2:1 for a 6.5K extraction with 2.2:1 aspect ratio for Mindhunters, 4K finish or maybe 6K. Don't remember that bit. I know some of House of Cards was mastered at 6K.
Click to expand...

What exactly is the point of a 6K finish when there is no such delivery spec anywhere in the world (at least as far as I know)? And particularly when there are VFX involved?
 
I still did't find how to get that 4KOS with 4352x2176 resolution. Open gate in Red One is something different. Maype they have some custom software? Anyone know anything about it?
 
M Most said:
What exactly is the point of a 6K finish when there is no such delivery spec anywhere in the world (at least as far as I know)? And particularly when there are VFX involved?
Click to expand...

Could they just mean it was finished at 6K for the future and downrezzed to 4K or 2K for distribution?
 
And why they use 3600x1500 resolution on final frame? It's seams to odd resolution.
 
M Most said:
What exactly is the point of a 6K finish when there is no such delivery spec anywhere in the world (at least as far as I know)? And particularly when there are VFX involved?
Click to expand...

The point is to finish at the highest quality possible. You know, similar to keeping that pesky neg around for all those years :)

I agree that 6K shouldn't be a standard, but 8K certainly is as well as 4K.


Michael Hastings said:
Could they just mean it was finished at 6K for the future and downrezzed to 4K or 2K for distribution?
Click to expand...

More or less the point, but the additional level of having a higher quality master for the future, the future, the future (echo, echo, echo).


Patryk Kaflowski said:
And why they use 3600x1500 resolution on final frame? It's seams to odd resolution.
Click to expand...

That was then down sampled to the 2K DCI Scope and I have no idea what was actually put back out to film, but probably the full res they could back then. Either at 2K or upscaled to 4K.


In short, there's something interesting in between the lines here. There are some filmmakers who are rather concerned about how and where their content will hold up and be displayed. And believe me, this is a less familiar concept in the face of the majority of the motion picture industry as so much content is likely disposable to a point these days. But for many, especially when it comes to features and even a few premiere shows I think many have landed on a 4K master being pretty darn good, especially for the next few years.

However, just to put it out there, 8K is also a thing and is very real. Much like 4K, it's just not in a lot of places yet.

If you are real curious the vast majority of my work for the last two years has been finished out in 8K, including VFX work.

I've also had an interesting journey explaining the concept of downsampling to general consumers this year as a few things I worked on got some traction. Main chatting about 8K to a 4K finish and why that's nice. But also filming beyond 8K resolution for an 8K finish. Which was a good chunk of this year for me. 12K and 16K for an 8K finish. My last shoot in one week is an 8K for 8K finish to be shown next month.

The needle is moving a bit. 4K is becoming rather the norm in a lot of markets now. 2K is still going to be around for a while. 8K is just getting the momentum rolling. It will all be a bit faster now towards advancement and adoption however. Similar to how HD televisions helped accelerated UHD 4K set development.

Also, theatrically, though much is up in the air to invest in specific 4K or 8K projection or 4K or 8K LED-tech screens, that's pretty much what's being talked about around town. Lots of fun tests going on with that theater in Winnetka with Samsung's Onyx over the last few months. Same for Sony's 8K C-LED, which is spectacular compared to the few 8K projectors I've seen.
 
Phil Holland said:
That was then down sampled to the 2K DCI Scope and I have no idea what was actually put back out to film, but probably the full res they could back then. Either at 2K or upscaled to 4K.
Click to expand...


But why exactly that resolution. Is any reason or its just semi random numbers?
 
Those numbers do provide equal vertical and horizontal movement for re-framing/stablization... If you're asking about the 4352x2176, that's probably the biggest frame they could squeeze out of R1mx (it is definitely custom, as 4.5k WS wasn't 2176 high).
 
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