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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...

"Creep" has been one of my all-time favorite songs since I was a little kid. It makes me very happy to see that it was treated with such care. This interpretation feels worthy of the song's marvel, and that is a great achievement. Bravo.

BTW, M-X looks gorgeous on the big screen.
 
Cinematographer Jeff Cronenweth , Colorist Ian Vertovec, Digital Intermediate Supervisor Michael Cioni and Director David Fincher maybe

intentionally turned Zeiss Master Primes sharp and contrasty image to more warmish as a sort of Cooke Look especially at night and indoor shots.

Please correct me if I'm wrong here.

Also I can see that Social Network gonna be one more box office movie shot on R1 and probably the first on R1-MX.
 
that's awesome, so glad I posted about the movie on my blog. It fit even more since it was filmed on RED. And I'll probably stand a better chance watching it since it encompasses two things that are important to me: RED and Social Media.
Whether or not it is a good film remains to be seen.
:)
 
Phillip Gibb said:
Whether or not it is a good film remains to be seen.
:)
Click to expand...

Well the combination is there...

Written by Andy Sorkin (The West Wing, Studio Sixty, Few good men)
Directed by Fincher
Cinematography by Jeff Cronenweth (most of finchers other films)
Original Music by Trent Reznor
Produced by Keven Spacey and Scott Rudin amongst others.
Shot on RED MX.

It has the possibility of being a damn good movie. Whether it is a commercial failure of course is another matter, but that in reality is irrelevant as to whether it is a good film or not. I've a good feeling about it.

I sincerely hope that he does shoot The girl with the dragon tattoo on EPIC or Even RED MX. I feel a lot better about Rooney Mara playing Lisbeth than Carey Mulligan but it does have the man that is Stellen Skarsgard in it...who else...
 
Tim Hole said:
I sincerely hope that he does shoot The girl with the dragon tattoo on EPIC or Even RED MX. I feel a lot better about Rooney Mara playing Lisbeth than Carey Mulligan but it does have the man that is Stellen Skarsgard in it...who else...
Click to expand...

Good luck to Fincher, he will need it, the original movie was absolutely brilliant, and the original actress Noomi Rapace owns that role like Hopkins owns Hannibal
 
Phillip Gibb said:
Whether or not it is a good film remains to be seen.
Click to expand...

Well, it's opening the New York Film Festival, which, if you know the selection committee, is a pretty big vote of confidence. And one member of the selection committee (Scott Foundas, who's a fine critic), has nothing but good things to say about it in the current Film Comment.

http://www.filmlinc.com/fcm/so10/socialnetwork.htm

So at this point, I'm pretty hopeful.
 
Tim Hole said:
I sincerely hope that he does shoot The girl with the dragon tattoo on EPIC or Even RED MX. I feel a lot better about Rooney Mara playing Lisbeth than Carey Mulligan but it does have the man that is Stellen Skarsgard in it...who else...
Click to expand...

I must disagree.

I don't see any need for a remake of this excellent film.
 
Funny that they are shooting the American remake of a Swedish film in Sweden.
 
Social Network Final Color

Social Network Final Color

I'm pleased to announce that the final color on David Fincher's The Social Network is complete and on 35mm film. To get a first look at what the final film looks like, the TV spots have started airing all with images straight from the DI. You can also go online and see the TV spots on The Social Network website (www.500millionfriends.com).
The final DI look can now be seen online in the TV Spot, which is on the TSN site beneath the frame-grab I included below.

Working with the entire TSN team and working at RED Studios Hollywood has been an a wonderful experience, and ultimately the MX performs beautifully on the big screen-both in digital and film exhibition. The lab work performed by Technicolor to convert the Li DI into film was a 4 month process of targeting, testing, and perfecting, and the results are truly exceptional. So impressive, in fact, that I encourage everyone to best evaluate the full properties of the first MX feature film on the print.

Though I have seen quite a few R3Ds over the past 3 years, I can honestly say that it required all of the RED experience of myself and my team to make this an accurate, smooth DI and delivery. There are a lot of moving parts in any DI, but what we experienced and learned on TSN is a cultivation of the work from thousands of hours previously spent with RED files-likewise TSN experiences are already being implemented onto new RED projects to make those films better, and so on.
And that really should be the ultimate goal: to improve and thus to appropriately share the experience of new art and technological practices. Studios, indies, shorts, and spots alike; experience can yield great opportunities to raise the bar. RED is one of those companies that literally hates to settle for something in the middle. -That is really why you are all still waiting for your Epic's and Scarlet's. And more importantly, that is also why I try to steer away from tools that intentionally make compromises.

Consider this:
Continuing to raise the bar becomes more vital when the amount of distractions in the market increases. While this isn't an exclusive statement, I generally find that as the roots of digital cinema grow, so do the temptations to find its short-cuts. But I believe that the future will be a world of increased fidelity across the board, not of maintained fidelity. Just look at any 5 year old and you'll quickly realize how much they actually respond to high quality images, TVs, and tools. I believe the brain of today's children and their evolved ability to suspend disbelief makes the effort of raising the bar worth it.

I find the best way to raise the bar for me is to make sure that I give every project the best I possibly can. That means being both creatively technical and technically creative (can you guess the difference?). I can whole-heartedly say that the team of people responsible for the ultimate look of The Social network absolutely did that. And I hope it shows. As for the rest of what makes a TSN a great film? Well, I'll just say in 3 weeks time you won't be disappointed.
m
 

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I'll be seeing this tomorrow evening, look forward to seeing your work on the big screen, Michael.
 
So will we be able to see this in 4K projection? Does anyone have a list of theaters where it will be playing in 4K? I know some of the AMC theaters have it, just don't know which ones.
 
Got home about an hour or so ago from seeing THE SOCIAL NETWORK here in Houston. It was only on a 2k Christie DLP, but it looked gorgeous. Some real jaw dropping shots (Some of the night city scape shots are just ridiculous, I heart MX). Andrew Garfield is going to be a HUGE name in short order, what a great performance.

Good work Red team, Michael Cioni/LiDig, Fincher/Crowenweth.
 
I'm confused. I thought "DI" was digital intermediate, as in shoot film > scan film > digital post production > print back out to film. Why does a film originating in digital have a DI phase? I guess I have no clue how all this works...
 
Lee Saxon said:
I'm confused. I thought "DI" was digital intermediate, as in shoot film > scan film > digital post production > print back out to film. Why does a film originating in digital have a DI phase? I guess I have no clue how all this works...
Click to expand...

It is much the same process. The only difference is there's no scanning stage involved as digital footage is already, well, digital.

Also, thanks for the update, Michael. Look forward to seeing the film!
 
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