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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 :)

Social Network...

The Social Network Site

The Social Network Site

Here is a link to the official site that recently went up. The DI of The Social Network is going great and I'll be able to share more about the process, both creative and technical, in the near future. The film was the first MX acquired feature and looks to be the first MX wide release as well. One thing I can share with you is that fans of RED images will not be disappointed, and fans of really good movies won't either.

http://www.thesocialnetwork-movie.com/
 
I am very much looking forwards to seeing the end result Michael.

Graeme
 
Thanks for the heads up. I'm looking forward to seeing this on the big screen. However, the current trailer is a little disappointing in that I was expecting to see some MX footage and not just a bunch of text ... I can't wait for the next version of the trailer ...
 
I wonder

I wonder

Ryan E. Walters said:
Thanks for the heads up. I'm looking forward to seeing this on the big screen. However, the current trailer is a little disappointing in that I was expecting to see some MX footage and not just a bunch of text ... I can't wait for the next version of the trailer ...
Click to expand...
Whos idea it was to have "audio" trailer for a movie?
Seems oddly familiar....here.....hmmm:devil:
 
Michael Cioni said:
Not a trailer. It's a teaser. Just wait...
Click to expand...

Yep, that is what I realized when I was watching it. But I was expecting a trailer, as that is what the link said. I'm looking forward to seeing the actual footage. Knowing that you were involved means it will be the best Red footage that it can be. :)
 
Michael is doing an incredible job... wait till you guys see it.
 
Way to go Michael. This is one movie I have been excited about since Jim announced it way back when. I believe reduser Nate Beamon is working on it too. I loved what Fincher achieved digitally with BB. Do us proud Micheal.
 
The Social Network DI

The Social Network DI

We're abut halfway through the DI of The Social Network and dialing in the look for this film is going great. What Jeff Cronenweth was able to photograph and give to Li colorist Ian Vertovec is a testament to the beauty of the MX and the results on the big screen should be great for the filmmaking community to experience and evaluate.
Speaking of big screens, I wanted to discuss how we are doing the DI of the film. Working with David and his team as well as the team at RED, The Social Network DI is actually taking place on what is quite possibly the largest color correction screen in the world.
At the February RED DAY event, Light Iron brought one of our Pablo 4K systems to use as a test for the TSN DI on RED's new 40' x 20' screen and their new Sony T420 4K projector in a 5,000 square foot space. Proposing a DI to be done in this manner presented a stark contrast to how traditional DI's are done - even for us. The immediate result was letting these images "breathe" on a larger screen -which better represents theatrical distribution exhibition characteristics for everyone participating in the DI.

But the purpose of the DI was not to do it on a big screen just for the sake of it...

One of the most popular concerns for many filmmakers is the ability maintain as much creative control of a project throughout the creation process. This goes for the studio as well. While there are many contributing factors in various feature films that inevitably can dilute creative control (ie: farming out of dailies, visual effects, title design, conforming, test screenings, and of course, DI, etc.), democratization is offering up some new opportunities for progressive filmmakers and at its core is neither film nor tape: file-based workflows and file-based tools are the key to the next-gen of of creative control.

Consider this:
The Social Network is a film that is being done without traditional reliance on large post laboratory infrastructures. To many RED users, this is a fairly normal practice, but for studio feature releases (TSN is Columbia), reliance on post hoses is almost a constant need (often for good reason). Li is doing similar workflows on 4 other studio productions right now, but in the case of TSN and RED MX, David's team and his editor, Angus, were able to do all the backup, dailies, editing, temp conforms for test screenings, and even prepare it for DI all in-house. And with the DI, the DCDM, and the DCP being done on the RED Studios lot, nearly all of the digital components of this film will have been achieved without reliance on a traditional laboratory infrastructure. The "post house" we brought to RED Studios is merely a 3' tall road case with a Pablo 4K in it, some SDI cable running to a scope and a projector, and a Mac Mini for iTunes.
Let me be clear that none of the above comments are meant to imply executing this does not require powerful equipment, a proper setup, and talented individuals. This concept is new and will only improve the ability to mobilize, internalize, and literally help "fuze" together all areas of the production process together. But we're not through the woods yet, the film-print releases for TSN will still make up about 85% of the movie's release and does require significant reliance on traditional film recording laboratory support.
However, what it does mean is the potential mobility of end-to-end services has reached a new level - and by merely controlling the mobility of your content and keeping it closer to you within a smaller team inevitably increases creative control of the process...which helps make a better movie, which is our job:-)
 

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Michael Cioni said:
We're abut halfway through the DI of The Social Network and dialing in the look for this film is going great. What Jeff Cronenweth was able to photograph and give to Li colorist Ian Vertovec is a testament to the beauty of the MX and the results on the big screen should be great for the filmmaking community to experience and evaluate.
Speaking of big screens, I wanted to discuss how we are doing the DI of the film. Working with David and his team as well as the team at RED, The Social Network DI is actually taking place on what is quite possibly the largest color correction screen in the world.
At the February RED DAY event, Light Iron brought one of our Pablo 4K systems to use as a test for the TSN DI on RED's new 40' x 20' screen and their new Sony T420 4K projector in a 5,000 square foot space. Proposing a DI to be done in this manner presented a stark contrast to how traditional DI's are done - even for us. The immediate result was letting these images "breathe" on a larger screen -which better represents theatrical distribution exhibition characteristics for everyone participating in the DI.

But the purpose of the DI was not to do it on a big screen just for the sake of it...

One of the most popular concerns for many filmmakers is the ability maintain as much creative control of a project throughout the creation process. This goes for the studio as well. While there are many contributing factors in various feature films that inevitably can dilute creative control (ie: farming out of dailies, visual effects, title design, conforming, test screenings, and of course, DI, etc.), democratization is offering up some new opportunities for progressive filmmakers and at its core is neither film nor tape: file-based workflows and file-based tools are the key to the next-gen of of creative control.

Consider this:
The Social Network is a film that is being done without traditional reliance on large post laboratory infrastructures. To many RED users, this is a fairly normal practice, but for studio feature releases (TSN is Columbia), reliance on post hoses is almost a constant need (often for good reason). Li is doing similar workflows on 4 other studio productions right now, but in the case of TSN and RED MX, David's team and his editor, Angus, were able to do all the backup, dailies, editing, temp conforms for test screenings, and even prepare it for DI all in-house. And with the DI, the DCDM, and the DCP being done on the RED Studios lot, nearly all of the digital components of this film will have been achieved without reliance on a traditional laboratory infrastructure. The "post house" we brought to RED Studios is merely a 3' tall road case with a Pablo 4K in it, some SDI cable running to a scope and a projector, and a Mac Mini for iTunes.
Let me be clear that none of the above comments are meant to imply executing this does not require powerful equipment, a proper setup, and talented individuals. This concept is new and will only improve the ability to mobilize, internalize, and literally help "fuze" together all areas of the production process together. But we're not through the woods yet, the film-print releases for TSN will still make up about 85% of the movie's release and does require significant reliance on traditional film recording laboratory support.
However, what it does mean is the potential mobility of end-to-end services has reached a new level - and by merely controlling the mobility of your content and keeping it closer to you within a smaller team inevitably increases creative control of the process...which helps make a better movie, which is our job:-)
Click to expand...

Congratulations Michael, love the path you guys are pioneering! I'll be in LA the week of the 12th and would love to stop by and say hello! (Got a treat to show you as well)

KUDOS!
 
Michael Cioni said:
what it does mean is the potential mobility of end-to-end services has reached a new level - and by merely controlling the mobility of your content and keeping it closer to you within a smaller team inevitably increases creative control of the process
Click to expand...


Michael,

I remember your quote from a Digital Cinema Society event: "The future of post-production is on-set..."

Torrey
-----------------------------------------------
Torrey Loomis
President & CEO - Silverado Systems, Inc.
(916) 760-0032 • FAX (916) 404-5258
torrey@silverado.cc
Web http://www.Silverado.cc
Blog http://silveradosys.blogspot.com
Twitter http://www.twitter.com/silveradosys

Build your own RED Rocket system: http://bit.ly/7F4QA1
 
Thanks for the update, Michael. I am eagerly anticipating The Social Network! (As well as more snippets from your side)
 
Tim Whitcomb said:
Congratulations Michael, love the path you guys are pioneering! I'll be in LA the week of the 12th and would love to stop by and say hello! (Got a treat to show you as well)

KUDOS!
Click to expand...

No doubt- great work Michael. I'm impressed that yo were able to make Pablo that portable.

Enjoy your trip to LA Tim- should be a good time. ;)
 
Michael, how much of the grade is done off the big screen and how much off a smaller grading monitor? Very exciting BTW. Love the idea of posting features on feature-sized screens. Shame our facility doesn't quite have the size...
 

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Shane-
All of the grading is taking place on the big screen. 100% of it will be done on the 40' x 20' display screen. We will do the digital master grading first, followed by the trim pass for the 35mm print.
m
 
Very interesting read, Michael. Thanks for letting us peek into the future of Hollywood post.
 
Michael Cioni said:
Shane-
All of the grading is taking place on the big screen. 100% of it will be done on the 40' x 20' display screen. We will do the digital master grading first, followed by the trim pass for the 35mm print.
m
Click to expand...

Thanks Michael. You give me faith to continue on our current path - albeit at a fraction of your size :blush2:
 
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