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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...

Thank you so much Michael and Ian.
Cheers
 
Sign of the times...there is a Regal Cinema 4K projector right up the road in tiny little Bellingham, Washington, showing GWDT.

If it is here, it can be anywhere.
 
Bud Anderson said:
Sign of the times...there is a Regal Cinema 4K projector right up the road in tiny little Bellingham, Washington, showing GWDT.

If it is here, it can be anywhere.
Click to expand...

I'm on vacation in Bellingham right now. Sounds like my search for a 4k theater will be close to home. And then, head over to San Juan Island. I know they don't have 4k on the island.
 
Just saw it in 4K in this theater:
http://www.uptownentertainment.com/Birmingham8.aspx

Actually people applaused the 4K logo in front of the movie...

But honestly, I was so much in the story, that at some point I didn't pay attention to the image resolution, I was too much into it.

Do anyone know what lense they shot on?

Ian maybe?
 
I just saw this at a theatre in Edgewater, NJ but there seem to be many 4K theaters
around if you check Sony's website.

Really solid looking image and very precisely exposed and graded from highlight to shadows.
The projector (gotta give Sony it's credit) also reproduced the images beautifully.

RED One looked brilliant with nice graceful roll offs on the top.
Cronenweth knows the MX well.

The scenes that I think were shot with Epic (flashback scenes?) looked like a moving photo book.

Very nice to see many elements in place from post to projection that show just how good
RED images can look.

One question though. What was up with the "Shot on RED" logo at the end?
It was kind of missing the "Red" in the center.

Overall nice experience.

Brian Timmons
BRITIM/MEDIA
 
Ian McGrew said:
Was very fortunate to spend some time talking to David about the Social Network and GWDT... Its always great to see a director just "get it". Was very surprised to hear David say that the entire film was shot at f1.3 wide open at all times. He said he wanted to capture the cinematic feel as good as he can!
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I'm surprised that a director so accomplished and respected would say something so stupid. Tell me: how much less 'cinematic feel' is f/1.4 than f/1.3? Is f/1.8 just not 'cinematic' enough? Or replace 'cinematic' with 'photographic'. See how fucking dumb that is? Well I guess even a brilliant director has the right to say (and do) stupid things now and again.
 
seriously, Ian, you did fucking awesome work with that movie. loved the palate and the monochrome scenes were just awesome. thank you and congrats to you and michael!
 
Master Primes.
 
Eli Jarra said:
Muvico in 91360 has'm. (Thousand Oaks) I'm lucky this theatre is right in my backyard too! This will be my first time viewing a 4K file natively shot, post'd and delivered at that resolution. Can't wait!
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Come back after you see it at Muvico to confirm it was indeed shown in 4K. Thanks. :)
 
Ok, I have a dumb question. Just confirming, is 4K theater projection 4096 by whatever apect ratio, or something else like quad HD? I could see future so called 4K for the consumer being quad HD. Also how well did the R1 MX image hold up at 4K since it is being shown in its full resolution, with no over sampling available, OLPF and all?
 
How did they achieve the great look for The Girl with the Dragon Tattoo?

Check out this video to find out how the Dolby Professional Reference Monitor enabled colorist Ian Vertovec, Michael Cioni and Katie Fellion from Light Iron Digital in Hollywood to create the perfect color grade for director David Fincher's most anticipated movie.

http://vimeo.com/33692306
 
Stupid?

Stupid?

Originally Posted by Ian McGrew Was very fortunate to spend some time talking to David about the Social Network and GWDT... Its always great to see a director just "get it". Was very surprised to hear David say that the entire film was shot at f1.3 wide open at all times. He said he wanted to capture the cinematic feel as good as he can! Karim D. Ghantous said:
I'm surprised that a director so accomplished and respected would say something so stupid. Tell me: how much less 'cinematic feel' is f/1.4 than f/1.3? Is f/1.8 just not 'cinematic' enough? Or replace 'cinematic' with 'photographic'. See how fucking dumb that is? Well I guess even a brilliant director has the right to say (and do) stupid things now and again.
Click to expand...



David is routinely classified as one of the pioneers of digital cinema throughout the early 2000's. During that time, most manufacturers had not yet developed PL mount camera systems or mass-produced single-sensors for motion pictures. Until 2007, B4 was king and routinely coupled with smaller, 2/3" CCD prisms as their "digital gates." The resulting early digital cinema pictures were optically different from 35mm in that CCDs with B4 lenses resembled that of a 16mm gate as well as the resulting 16mm depth of field. "Zodiac," for example, was shot on the Thomson Viper (2/3" CCD) using Zeiss Digi-Primes (B4 mount).

So for those of us who have been cultivating the foundation of modern digital cinema for some time, aesthetic challenges such as the ideal optics, depth of field and single-sensor characteristic formation of lens flares were important issues that needed addressing (among countless others). Shallower depth of field is congruent with a dramatically driven, so-called "cinematic feel," commonly found in 35mm, widescreen dramatic feature films. This is likely what is being referred to.

Both Dragon Tattoo and Social Network were photographed on Zeiss Master Primes with wide-open lenses, decreasing the depth of field as much as possible. Because the Master Prime is the only full set of lenses that can resolve 4K images and go as fast as a T1.3 consistently across the fleet, it's the ideal lens for the type of images David and Jeff are looking to create.

You will see in this film the utmost control over the simplest thing: the human face. What each face tells us in a complex and powerful story like GDT is everything. Every single frame of this movie is consciously controlled and executed and the depth of field has so much to do with what that. -What you are looking at and what you are reading from each face is partially sculpted by a strongly calculated depth of field design. With early digital cinema, a 16mm compromise was the closest option for most filmmakers. With EPIC, depth of field now can exceed 35mm which has an even more dramatic affect on image texture. Do you really think that sounds stupid?

Before RED and during the time of films like Zodiac, there were a number of independent filmmakers facing the same depth of field problem. It wasn't that long ago, but this is what people used to do to capture the cinematic feel as good as they could given the resources at the time. Would you consider them stupid?

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Karim D. Ghantous said:
I'm surprised that a director so accomplished and respected would say something so stupid. Tell me: how much less 'cinematic feel' is f/1.4 than f/1.3? Is f/1.8 just not 'cinematic' enough? Or replace 'cinematic' with 'photographic'. See how fucking dumb that is? Well I guess even a brilliant director has the right to say (and do) stupid things now and again.
Click to expand...
Karim, last time I checked David is doing just fine both financially and as an artist. So, although you may disagree with him on something, I think David knows what he is talking about, and deserves a bit more respect don't you think? A far more productive approach might be to offer your reasonings on why you wouldn't shoot something the way he is. Then it becomes a discussion and comes off less as an attack. Michael just presented a reason why, now how about a follow up with your approach?
 
For those in Los Angeles who want a nice experience with TGWTDT Arclight Hollywood has it at 4k. Theaters 1, 2, 8, and 9 are 2k. Avoid those :) I'll be seeing it there tonight.
 
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