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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

I like that they are treating their workflow like traditional film. I think this makes for far less distraction on set. It's also a sign if how much digital acquisition is maturing interns if how trusted a medium it is and how bulletproof things have become with RED. Making the set about acquiring the images (after testing, experience and just knowing what the sensor is going to do in many situations) and then watching high resolution daillies seems to me the ideal workflow.

We can an learn a lot from how this team is working. Adobe premiere will only benefit from having their team present during production.

The article is a really good read.

Battistella
 
I get shooting at 6k while framing at 5k for a 4k/2k deliverable. They are scaling the images down for editing...I get that too. What I'm having a hard time wrapping my brain around is how they get back to the original source material / resolution with the compositing they are doing in after effects for the DI. Are they correcting/stabilizing everything in after effects from r3ds and re outputting files for edit? That all makes sense too. I guess the question comes in the output of an edl for the DI with mixed resolutions and framing/tracking/source files.

By the way. I absolutely love articles like this. Especially from this talented bunch.
 
I would imagine they are pulling vfx pull lists at the time of stabilization and tracking those shots as the edit progresses. Perhaps the high Rez versions are what is being comped with a 1920x800 version rendered for the cut (most likely with handles).

itlooks like a very fluid post setup where the editor is focused on the flow, feel, and the cuts, with all the clean up work being sent off and worked on simultaneously.

Probably the best way to manage this would be as an "as-you-go" process that is tracked, named, numbered, documented, so the conform is easily created from the documentation.

Battistella
 
Nice Article!
Possibilities are endless and it proves how versatile one can be using the right array of tools!
 
Looks like the Meizlers in one version or another are still in play

1507250_10152740141769328_1070484582062519805_o.jpg
 
Looks like the Meizlers in one version or another are still in play
Click to expand...

On HOC they used the Meizlers mainly for wireless video on both cameras. Transmitting to 24" monitors for the ACs, and a separate monitor for the director.

Nick
 
Yeah, I have the digital copy on iTunes, which I was disappointed only had the Commentary. Pre-ordered the Blu Ray and just cancelled. I'm sure there will be a double-dip edition for people that care.

Bleh.
 
I seriously hope they release that later since I never get anything worth watching out of any other behind the scenes other than Finchers movies. Almost all behind the scenes material for other movies focus on one single thing, VFX. Finchers releases focus on the material, on the craft and thought process.
 
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