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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 :)

Gone Girl Interview David Fincher + Jeff Cronenweth + Dragons

Nice read. Those are some very nice words from Cronenweth.

I truly love the results that this particular team of filmmakers has brought to the screen.
 
"In terms of his workflow, the DP reports, "It wasn't really different from the way we worked on the last film, as even with the amount of data increasing, things went faster. And, unlike a lot of productions, we still don't utilize a DIT on set or an on-set lab. Instead, we handle all of that in-house with an editorial team."

The data was captured to REDMAG 256 GB SSDs, and then the drives were shipped off to editorial, where they worked with the REDCODE RAW format."

Just goes to show that there are many ways to approach digital acquisition. If I'm reading this correctly, they treat the RED Mags like they are a camera negative that gets sent off to the lab. There's no on set lab when working with film. You just make sure it gets to where it needs to go safely. That approach may not work for every production in this day and age but it is kind of interesting to see how each production tackles these issues.
 
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Steve Sherrick said:
"In terms of his workflow, the DP reports, "It wasn't really different from the way we worked on the last film, as even with the amount of data increasing, things went faster. And, unlike a lot of productions, we still don't utilize a DIT on set or an on-set lab. Instead, we handle all of that in-house with an editorial team."

The data was captured to REDMAG 256 GB SSDs, and then the drives were shipped off to editorial, where they worked with the REDCODE RAW format."

Just goes to show that there are many ways to approach digital acquisition. If I'm reading this correctly, they treat the RED Mags like they are a camera negative that gets sent off to the lab. There's no on set lab when working with film. You just make sure it gets to where it needs to go safely. That approach may not work for every production in this day and age but it is kind of interesting to see how each production tackles these issues.
Click to expand...

Well said Steve. And yeah, every single crew does things different. You need to have very, very strong ACs to work without a DIT, and luckily Fincher and Jeff had Tucker and Paul who are some of the best.
 
Jarred Land said:
Well said Steve. And yeah, every single crew does things different. You need to have very, very strong ACs to work without a DIT, and luckily Fincher and Jeff had Tucker and Paul who are some of the best.
Click to expand...
Indeed, those guys are great and they take a great interest in knowing everything about the cameras.

I also like that you have had a close working relationship with David and Jeff, as they are clearly guys who are open to new technology, trying things and it helps push things forward for everyone else.
 
Steve Sherrick said:
"In terms of his workflow, the DP reports, "It wasn't really different from the way we worked on the last film, as even with the amount of data increasing, things went faster. And, unlike a lot of productions, we still don't utilize a DIT on set or an on-set lab. Instead, we handle all of that in-house with an editorial team."

The data was captured to REDMAG 256 GB SSDs, and then the drives were shipped off to editorial, where they worked with the REDCODE RAW format."

Just goes to show that there are many ways to approach digital acquisition. If I'm reading this correctly, they treat the RED Mags like they are a camera negative that gets sent off to the lab. There's no on set lab when working with film. You just make sure it gets to where it needs to go safely. That approach may not work for every production in this day and age but it is kind of interesting to see how each production tackles these issues.
Click to expand...

Also sounds very similar to Steven Soderbergh's workflow.
 
Jarred Land said:
Well said Steve. And yeah, every single crew does things different. You need to have very, very strong ACs to work without a DIT, and luckily Fincher and Jeff had Tucker and Paul who are some of the best.
Click to expand...

Jarred, the article mentioned the motion mount. Was this used throughout the shoot? Or just on exteriors?

best
 
I thought Hitchcock should of got more recognition for its cinematography. Jeff continues to deliver such beautiful work, film after film. I wouldn't expect anything less from Gone Girl.

Jarred, so when do you get to have your own private screening of Gone Girl? :)
 
Bill Anderson said:
Just what I was thinking, and I seem to recall Soderbergh saying something about not having a director's monitor on set. He was getting too drawn to it…

Good article.
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Yeah I think Mark Pederson mentioned the AC's just pulled focus at two 17" monitors...via Teradek Bolts...
 
I was lucky enough to visit REd Europe yesterday. In the screening room I watched a 4k version of the gone girl trailer. Wow! Just a unique and beautiful image.

The night before I saw a 2k digital projection of LUCY and the same Gone Girl trailer played ahead if the film.

I have to say I can't wait to see more 4k projection and Dragon. Believe me it removes that nostalgic feeling for film because you just think its shot on film and projected digitally.

There is truth to the term "Sony colors".

Dragon seems to offer a much more satisfying palette with many of the same intangibles that film has.

Battistella
 
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