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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 :)

The Girl with the Dragon Tattoo...

after seeing the social network, fight club, seven and several other movies david fincher made, it makes me wish he did not spend his current few years RE making this trilogy. it's the same way i feel about chris nolan doing 3 batman movies. i like when guys like this make original movies that blow my mind rather than (granted very good) movies where i pretty much know what's going to happen.
 
Chris Parker said:
after seeing the social network, fight club, seven and several other movies david fincher made, it makes me wish he did not spend his current few years RE making this trilogy. it's the same way i feel about chris nolan doing 3 batman movies. i like when guys like this make original movies that blow my mind rather than (granted very good) movies where i pretty much know what's going to happen.
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If it makes you feel better, he's likely not doing the sequels. It took Sony awhile to announce their interest in the second film, and because this one underperformed it seems like they'll go with a cheaper director. Only the actors were contractually bound to come back.

Personally, I agree with you. I'd prefer Fincher move on to other films, like his long planned "20,000 Leagues Under the Sea".
 
Here in Edmonton, I did some research before I went to see the movie. There are in fact a few 4K theatres here but TGWDT was not playing in any of them. There are, according to the manager of one of the Cineplex theatres, 4K projectors in the AVX screens. That doesn't mean that all of the AVX screens will get 4K keys, he said. The head office will delegate one or two of them to receive the 4K keys so even then it's a crap shoot. I saw TGWDT in the Scotia Theatre in Edmonton and although I enjoyed the film, the picture was very underwhelming. It was dark, black were crushed, whites were drab and grey. That I believe is because they likely dialled the projector brightness back to save bulb life or it was near the end of it's useful life span. It was impossible to critique the look of the film based on the way it was projected. I did notice the only part of the movie that showed what I interpreted as rather excessive noise in the club scene. That could have been made worse by the projection but I thought I would ask others to see if the "noise" was bad enough to be distracting in 4K theatres as well.

Larry
 
Larry Kelly said:
the only part of the movie that showed what I interpreted as rather excessive noise in the club scene. That could have been made worse by the projection but I thought I would ask others to see if the "noise" was bad enough to be distracting in 4K theatres as well.

Larry
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The club scene noise was intentional and added digitally.
 
Thanks for that Ian, I look forward to watching the movie again on my own home theatre system. Great Movie and taking into account the limitations of the theatre projection, it looked great.

Larry
 
Larry Kelly said:
Here in Edmonton, I did some research before I went to see the movie. There are in fact a few 4K theatres here but TGWDT was not playing in any of them. There are, according to the manager of one of the Cineplex theatres, 4K projectors in the AVX screens. That doesn't mean that all of the AVX screens will get 4K keys, he said. The head office will delegate one or two of them to receive the 4K keys so even then it's a crap shoot. I saw TGWDT in the Scotia Theatre in Edmonton and although I enjoyed the film, the picture was very underwhelming. It was dark, black were crushed, whites were drab and grey. That I believe is because they likely dialled the projector brightness back to save bulb life or it was near the end of it's useful life span. It was impossible to critique the look of the film based on the way it was projected. I did notice the only part of the movie that showed what I interpreted as rather excessive noise in the club scene. That could have been made worse by the projection but I thought I would ask others to see if the "noise" was bad enough to be distracting in 4K theatres as well.

Larry
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Felt the same about the club scene in a 2K projection. I scratched my head since that was a controllable scenario and they pulled the shadows and the dark scenes so well in other parts of the film. That's why I also asked if that was red one mx or Epic. Good to hear that it was added digitally in post and was an artistic choice. Will definitely get the blu-ray to see this film again. But this is nitpicking. I had no problems whatsoever with Pirates 4 or with the Spider-Man trailer, for example.
 
Michael Cioni said:
DI is 55TBs.






Far from a myth. It's been mentioned in numerous places and publications. This film was delivered in 4K, and underwent a rare but worth-while 4K film scanning for the prints. But as I discussed; we are in a transition period to which GDT marks an important turning point in the rapid development of 4K distribution.
m
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Who supervised TGTDT bluray you or guys from Sony Home Entertainment did it? Can you tell us about hows the bluray process work on your projects? for example TSN..Thanks
 
Kemalettin Sert said:
Who supervised TGTDT bluray you or guys from Sony Home Entertainment did it? Can you tell us about hows the bluray process work on your projects? for example TSN..Thanks
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First we trim for 709 using the dolby PRM, a custom P3 to 709 lut I built, and the theatrical DI project. We do not work on a 1080 down convert. We work at full 4.3K and output 1080 at the end. The lut handles all of the color conversion. However, we are now looking at a monitor intended for the home instead of a projector in a controlled theatrical environment. So I usually make adjustments related to brightness on a smaller screen. For a theatrical release you can get away with playing a scene quite dark, as the picture is the only source of illumination in a dark theater. For broadcast/bluray it's sometimes better to go slightly brighter as the picture isn't the only source in a brighter living room. For both TSN and GDT, Jeff and I were able to do this in a day.

We use the same 4352x2176 and reframe every shot for a 178 and a 133 aspect ratio. We send those versions to David for approval. This process takes a bit longer then the color, as we are creating something new instead of just recreating the theatrical. Remember, we aren't just panning the 240, we are reframing from a much larger 2:1 plate. I actually like the 178 the best for the small screen, it still feels large and epic.

Once David has approved the whole film at 178 and 133, we send them to Sony at 1080. Sony handles the encoding for bluray and all foreign markets. Since David was out of the country promoting the film, Sony had us review the Oscar screeners to ensure it represented the film accurately. Now that he is back, he will likely approve the final bluray master at the studio.

We will be archiving the 240, 178, and 133 all at 4K. In the event a 4K home deliverable is needed we will have it.
 
Anyone knows at what ISO the film was rated? Just read latest American Cinematographer, but did not find that info. There are quite a few of dark scenes, so I wonder if DP pushed MX to 800 or not. By the way, almost all movie was shot with 80D filter on lens.
 
Madjid El ayari said:
There are a lot of dark scene ! the color correction on this movie were not completely perfect ! Too much very dark shadow , not enough visual detail on the dark , and not a good work on the middttone : So the indoor scene were sometimes completely flat with very dark shadow and without a tiny level of highlight at all , wich gives no relief (3d) to the image !
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A lot of work was done in color correcting this film, a lot! there's a little documentary about it somewhere. If it looks the way it looks, its because that's what they wanted to look like. That 3d separation you mention, is not a 'must', some people prefer it more to others, the Social Network also was lit and corrected this way, there was no strong separations in tone or light. Its intentional, not accidental.
 
Is this EPIC or RED MX?I have to agree with all above, some shots VERY great, some looks flat, shadows sometimes looks crashed as in 2k compresion . The Scene inside of the company - archive search GREAT, all inside the house on the island- FLAT . But anyway, the story is great so who cares:)
 
martin.kryjom said:
Is this EPIC or RED MX?I have to agree with all above, some shots VERY great, some looks flat, shadows sometimes looks crashed as in 2k compresion . The Scene inside of the company - archive search GREAT, all inside the house on the island- FLAT . But anyway, the story is great so who cares:)
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Yes, I agree, but I watched a 2k projection, although I believe that the Alexa still resolves better DR than the MX, both in the shadows and highlights, I hope Dragon can come to fix this.
 
So all on EPIC or 70 % on MX? Is important as DOP look at that film as a reference , and I can only see EPIC in " last 1/3" of the film. Can sombody form RED tell ? I hope is mix between RED1 MX and Epic:))
 
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