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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...

martin.kryjom said:
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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Your answer is on post #34 of this thread, answered by the guys at LighIRON who did post on this Movie.
 
....The last 20 % was shoot on EPIC, so the answer is clear ( from the link above to the AC magazin)
Funny is that coloris made also social network and this is what i have thought in cinema , so similar to the caffe sentence on SN....
Good that i can tell the difference between R1 MX and Epic shows that EPIC is a Great improvment...
 
Pretty good chart:

GDT_2.40_framing_chart.jpg


This shows how much flexibility they had in reframing after the fact. Very good idea.
 
The center extraction is something I do not understand. Why not use as much real estate from the sensor s possible and down rez from the biggest piece of the sensor as possible. Isn't extracting just a fancier term for 'cropping?'
 
Joe Taylor said:
The center extraction is something I do not understand. Why not use as much real estate from the sensor s possible and down rez from the biggest piece of the sensor as possible. Isn't extracting just a fancier term for 'cropping?'
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Having the flexibility to repo, stabilize, and do splits was very important to David. Splits actually need A LOT of pad, otherwise you end up doing paint work. Angus, Kirk, and David talk about this in the New York Times article a few weeks back.

http://www.nytimes.com/slideshow/2011/12/18/magazine/dragon-tattoo-fincher.html?ref=magazine
 
Picked up the Blu Ray today ($19.99 at Best Buy, same as Amazon)...

Watching through supplements now, but I flicked through the film and it was surprisingly soft. Bizarre since HDD rated it so highly...and it was so sharp in theaters.

Meh.
 
The behind the scenes were amazing.

I noticed some of the scenes where they shot at Red Studios. You guys made them wear name badges, lol.
 
watched it with commentary and it was no longer soft...I must have just been flicking through some softer scenes, or I was tired.

Anyway, kind of disappointed with the package. The Social Network, Benjamin Button and Zodiac had much better supplements. This one was just a hodge-podge of things. No real structure.
 
Love Fincher's version! Can't wait to get my hands on the Blu-Ray! :) Amazing work by Jeff Cronenweth!

I love how Fincher "saw" the characters in this version - far more than in the swedish film. The mystery and plot is not anything special, but that's where I thought Fincher's version was superior, because of the attention to the relationship and dynamics between the characters and the way he brought them to life.

I also thought Rooney Mara was just mindblowingly AMAZING! Unlike the swedish version (Noomi Rapace is fantastic, but...) the character wasn't so "cut out" that she seemed like a semi-flat comic book character trying to excist in a "real world". I really thought that Noomie, that either was directed, designed or herself portrayed her in this way, was with a tint of prejudice and ignorance - which I don't like at all! If you(the makers of the film) think she's(Salander) is a freak - she will look like a freak to the audience and it kinda gets akward at times - in a bad way. Rooney(Fincher and everyone involved with the design of this character) made her "real" - no prejudice. The way she looked and acted was justified, with real reference, purpose, respect and great love and empathy. She just embodied this character and I identified with her very much.

I completely disregard the content of the book - I'm only comparing the two films, the direction and performances and how I thought they impacted on me.

Basically the swedish film didn't interest me at all, but Fincher's version has occupied my mind for a long time and I can talk about this film for hours :D
 
I finally got to see this movie on Blu-ray (was too busy working to have the opportunity to see it in the theaters). I have a comment/question about the color correction that maybe can get answered here. The flashback scenes to the 60's (in the Vanger mansion) had the specific look to them, but the blacks seem washed out and purple/blue instead of actually being black. When I color correct and come across this I always address that, making the blacks actual black. Why wasn't this done? Was it a choice? I ask because I found it distracting, but maybe that's because I don't like that and know how to fix it. I see this same thing happen once in a while with other movies and TV shows, without a special look for this type of purpose. So it makes me think something important with the color correction was missed in the process. And yes my display is calibrated.
 
I have only just seen it recently in a theatre on 2K DCI projection and I have to say I was really impressed how the movie looked. There was nothing "digital" about it (aside from the missing film projector weaver shake - which is a welcome thing!). I was however puzzled with two scenes - one where Mara goes to the club and the other where she wakes up with Craig in the bed. Both scenes had quite a bit of noise. The bed scene was at the limit of what I can tolerate, but the club scene with its blue noise was a shocker - especially since the rest of the movie looked so perfect. Why would they not run even a simple denoise like Neat Video? That would have taken care of it...

Other then that - I love the movie - both from storytelling perspective and as a DoP/Colorist from visual one too...

Thumbs up!
 
Saw GDT in 4K at Arclight in LA. It was certainly awesome. Last few days I've been looking at the Bluray in a private theater, 2K projector on a 27' screen. Equally impressive. Michael Cioni talked a lot about the grade at Reducation and now looking at it again I really get the choices that were made. Brilliant filmmaking all around... (Now to get my hands on a DCP version in order to compare the transfer / Bluray mastering process)
 
Ron Lagerlof said:
... Michael Cioni talked a lot about the grade at Reducation and now looking at it again I really get the choices that were made. Brilliant filmmaking all around... (Now to get my hands on a DCP version in order to compare the transfer / Bluray mastering process)
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There's a lot of "simple" things which are simply amazing and add a lot of feel, which flow through the whole movie to give it that special edge. I especially like the compositing of the slate/snow that is falling in a lot of the scenes, I had no idea that was added in post. Doing that at 4k must have been real hard, it's like color grading was mixed with visual effects - it's almost depressingly good when I look at that, then my own work.
 
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