{"id":4601,"date":"2014-10-03T19:49:36","date_gmt":"2014-10-03T19:49:36","guid":{"rendered":"http:\/\/www.icgmagazine.com\/web\/?p=4601"},"modified":"2015-02-04T21:32:14","modified_gmt":"2015-02-04T21:32:14","slug":"modern-family","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/modern-family\/","title":{"rendered":"Modern Family"},"content":{"rendered":"

\"_DSC8872.NEF\"<\/a><\/p>\n

A 6K Data-intensive workflow enables Jeff Cronenweth, ASC, to chase down a “gone girl” in his newest collaboration with David Fincher.<\/strong><\/p>\n

A series of mysteries form the core for the best-selling novel Gone Girl and its film adaptation, the subject of which is a married couple\u2019s difficulties after they lose their writing jobs and move from the east coast to Missouri. The big question marks in Gillian Flynn\u2019s popular book (as well as her own screenplay adaptation) are: to where has Amy Dunne (Rosamund Pike) disappeared, and is her husband Nick (Ben Affleck) involved? Other aspects relate to how well Nick will stand up to suspicions from the police and the media, and if the case\u2019s very public exposure is ultimately beneficial or detrimental in resolving Amy\u2019s fate.<\/p>\n

Oscar-nominated filmmaker David Fincher describes Flynn\u2019s novel as a \u201cwicked look at marital resentments. While it\u2019s at times a heightened thing, with moments that are deliberately absurd, I think Gillian\u2019s book touched a nerve because it gave a voice to genuine concerns about cohabitation,\u201d he shares.<\/p>\n

\u201cNobody has been so profound in delivering this message, especially in so striking a way,\u201d Fincher adds. \u201cI felt it was both original and diabolical, while demonstrating how difficult it is to even imagine any relationship surviving the kind of scrutiny that arises out of the media side of things on a case like this.\u201d<\/p>\n

Fincher relied on a number of familiar behind-the-scenes collaborators to propel his first data-intensive (6K-capture) workflow, including director of photography Jeff Cronenweth, ASC, who began his feature career on the director\u2019s Fight Club<\/i> and more recently lensed Fincher\u2019s The Social Network<\/i> and The Girl with the Dragon Tattoo<\/i>.<\/p>\n

Cronenweth contrasts the way he illuminates Gone Girl\u2019s<\/i> protagonists with his approach on his first feature collaboration with Fincher. \u201cIn Fight Club<\/i> you often can\u2019t see the eyes on the main two guys,\u201d he observes. \u201cIn addition to being unnerving, it was valuable in showing how shallow these guys were. Then, when we chose to bring the eyes out, it worked well in showing them as two facets of the same person. On this film, the intensity of the relationships between these people and the mystery surrounding it all was such that you really had to be able to see their eyes to have some idea of how this psychological chess game between this very dysfunctional couple played out.\u201d<\/p>\n

\"_DSC7018.NEF\"<\/a><\/p>\n

The RED EPIC Dragon 6K camera makes its feature debut in the film. \u201cDavid and I were the first to use the Mysterium chip on The Social Network<\/i>,\u201d notes Cronenweth. \u201cDuring the shoot on Dragon Tattoo<\/i> we switched over to Epic when memory cards became available. After that I shot Hitchcock<\/i> on the Red Epic.<\/p>\n

\u201cWe stayed in contact with the Red group, and [president] Jarred Land is really good about embracing new ideas and advancements,\u201d Cronenweth continues. \u201cThere were eight Dragons<\/i> in existence when shooting began, and we had four of them. We brought Epics along as backups since we were away on location, but the Dragon <\/i>was well tested before we got our hands on it, so we weren\u2019t exactly guinea pigs. We treated the shooting like film, picking a single lookup table as you would a film stock, then creating the rest of our look with choices of lighting, art department and costuming.\u201d<\/p>\n

One new tool, the Meizler module, helped streamline shooting logistics, while another, Red\u2019s Motion Mount, helped eliminate annoying digital artifacting like juddering. \u201cWhen I look at the size of what is actually making the picture, that seems wildly compact to me,\u201d Fincher describes. \u201cBut then you add all this other stuff and it becomes this Medusa; it drives me nuts to have all these cables velcroed to the side of the camera. The Meizler is a first incarnation of bridge building, from a quick-release battery \u2013 being able to hot-swap is great! \u2013 to the camera box itself.\u201d<\/p>\n

Fincher says the initial notion was to build a wireless video tap, auto-slate capability and make it bumper-to-bumper, from matte box back to battery, free of that after-market gack he so detests. \u201cLots of people got involved, and it wound up needing all kinds of I\/O for 3D and synch boxes, but the most important part is the wireless 1080-p video tap; that is the only way to go for me,\u201d he continues. The Ti PL Motion Mount, incorporating ND into a global shutter, was a major breakthrough. \u201cI\u2019m amazed by how it handles motion blur when panning, and we never had any issues with focus, either,\u201d he adds.<\/p>\n

Though long known as a strong proponent of previs, Fincher did not feel the need for it on this project. \u201cThere\u2019s still no better way to prepare everyone for a complex and extremely exacting camera move than with an extremely intricate previsualization,\u201d he allows, \u201cespecially if you\u2019re shooting on a set like a plane, where sections need to get wilded away. But on location, it isn\u2019t always necessary to spend a ton of money working out a \u2018best laid plans\u2019 scenario that may just wind up only helping prove Murphy\u2019s Law.\u201d<\/p>\n

\"_DSC6873.NEF\"<\/a><\/p>\n

Cape Girardeau, Missouri, stood in as the story\u2019s <\/b>fictional town, with Fincher, Cronenweth and production designer Donald Graham Burt settling on locations that would serve as a palette upon which costume and set design could be based.<\/p>\n

Cronenweth shot night exteriors at or below F2, which meant that gaffer Erik Messerschmidt could forego the usual 20-K\u2013heavy augmentation.<\/p>\n

\u201cInstead we used gentler units to just boost the illumination, carrying from the existing location practicals,\u201d he explains. \u201cShooting nearly wide open meant the first ACs had to be on their toes, though. There was still the occasional Condor needed when we had to edge or highlight a particular building, but not as much as you might think.\u201d<\/p>\n

Shooting took place across several city blocks, all illuminated by sodium vapor light. \u201cAs the globes age, the colors shift from magenta to yellow,\u201d Messerschmidt describes. \u201cThe city worked with us to change out the older bulbs so the color was uniform all along the main street. The one exception was a courthouse. Since we couldn\u2019t replace those bulbs, the art department painted the diffusers on all sixty of the existing fixtures to match. The locals liked the look so much, they didn\u2019t want us to restore them afterward!\u201d<\/p>\n

Blue screen and green screen work \u2013 largely views out of the windows of the Dunne family home along with driving scenes \u2013 was facilitated through the use of Cineo HS fixtures employing LED white light sources, provided by DPS Inc.<\/p>\n

\u201cWe needed a light that was adjustable in intensity, even at the ten\u2013foot-candle level,\u201d Messerschmidt adds. \u201cWorking with that little light, the flexibility is just not there working with either incandescent or Kino Flo. There\u2019s minimal spill from the screen and less heat, and, most importantly, it gave Jeff a lot of options when it came to lighting the live-action part of the scene. We could just go back in and dial the appropriate amount of light to illuminate the green screen after he has the live action looking the way he likes it, instead of compromising the scene lighting in order to match the green screen exposure.\u201d<\/p>\n

Since Cineos can be run on a dimmer console, there is a record that can be called up when a need arises for matching. This was especially useful on the Dunne house interiors, built on stage with each floor a separate set, which meant lighting had to match precisely when taking a character up or down stairs.<\/p>\n

\u201cA lot of our night interiors just have a bounce into the ceiling or some back or edge light, which meant a very gentle touch when it came to taking away some of the ambient light,\u201d the gaffer shares. \u201c[Key grip Jimmy Sweet] drew on some serious \u2018gripology,\u2019 cutting the light off a wall or containing things.\u201d Messerschmidt\u2019s team also built numerous custom fixtures from LED ribbon provided by Lightgear, ranging from panels to tubes and lightbars, to enhance a variety of stage settings.<\/p>\n

\u201cWe\u2019re not glamour-lighting everyone like some TV shows do, because our story calls for a darker look,\u201d he says. \u201cBut there were times when the story called for letting Rosamund look as gorgeous as she really is, so for those occasions we bring a little extra to the moment.\u201d<\/p>\n

\"_DSC9067.NEF\"<\/a><\/p>\n

Shooting strictly on primes, camera operator <\/b>Peter Rosenfeld captured roughly eighty percent of the movie through four Leica Summilux-C lenses. \u201cWe stayed primarily between 21 and 40 millimeters; that was our sweet spot,\u201d Cronenweth recalls. \u201cThe lenses are very sharp, and I shoot it as cleanly as possible. If there\u2019s an occasional issue with skin tone or a blemish, that can be tackled in the DI or through VFX.\u201d<\/p>\n

The cinematographer attests that Fincher has never been one to invest in what he describes as \u2018foreign energy.\u2019 \u201cUnless shakiness is a chosen and desired effect, we want all random camera movement gone,\u201d Cronenweth confirms. \u201cThat means stabilizing the imagery, which, this time out, was often handled by artists in house rather than by one of our VFX vendors.\u201d Longtime collaborator Digital Domain handled much of the effects load, which was also spread to Ollin Studio and Savage VFX. Work ranged from matte paintings to blood\/squib work, which Fincher chose to avoid on set, owing to his admitted dislike of waiting for reset.<\/p>\n

Some visual effects sequences required more TLC than others. \u201cWe don\u2019t typically pre-grade for VFX, but the car interiors and driving exteriors had to precisely match,\u201d relates [post house] Light Iron colorist Ian Vertovec. \u201cGoing this route really facilitated matters, so what we sent out to vendors was sure to come back color-corrected.\u201d<\/p>\n

\"_DSC6359.NEF\"<\/a><\/p>\n

Second assistant camera Paul Toomey managed data on set, while assistant editor Tyler Nelson handled ingestion and categorization, reviewing for any aberrations such as image softness. A 5K extraction of the original 6K imagery was made at the 2.40 aspect ratio, with a downconversion to 4K for release.<\/p>\n

Another industry first for Gone Girl<\/i> was the use of Adobe Premiere Pro CC for editing and conforming the entire feature. \u201cThe guys at Adobe were great about addressing our tech concerns on how to carry their editorial list over,\u201d reports Vertovec. \u201cWith Fincher\u2019s in-house team doing so much of the effects [largely through Adobe After Effects], we got new shots every day and traded lists back and forth constantly.\u201d<\/p>\n

Postproduction supervisor Jeff Brue saw to the film\u2019s 6K pipeline concerns, which included real-time color-correction and review, accomplished via NVIDIA\u2019s Quadro GPUs, with imagery requiring VFX being transcoded to DPX files. Edited footage was rendered through NVIDIA CUDA using the debayering process.<\/p>\n

Light Iron had accommodated Dragon Tattoo\u2019s <\/i>4.5K workflow, but in order to deal with the new 6K pipeline they had to soup-up their Quantel Pablo Rios. \u201cQuantel helped with code in order to make this happen,\u201d Vertovec states, \u201cwhich really facilitated our being able to deliver a 4K end product. We worked in log, straight from the R3Ds to REDlogFILM.\u201d The feature was edited from shard solid-state disks in 2304 \u00d7 1152, with a subsequent 1920 \u00d7 800 extraction to allow for stabilization and any reframing.<\/p>\n

At press time, the digital intermediate process at Light Iron was still underway, with Cronenweth having cleared his schedule in order to remain as involved as possible with the DI. \u201cI have a lot of trust in the people involved,\u201d the cinematographer concludes. \u201cIan and Light Iron have done David\u2019s last three shows, so he does one unsupervised pass to start with, then we look at what kinds of layering and VFX need to be added.\u201d Or as Fincher simply declares: \u201cBeing able to view the finals in 4K is awesome.\u201d<\/p>\n

by Kevin H. Martin \/ photos by Merrick Morton<\/strong><\/em><\/p>\n

 <\/p>\n

CREW LIST > Gone Girl <\/i><\/p>\n

Dir. of Photography:<\/b> Jeff Cronenweth, ASC<\/p>\n

Operator:<\/b> Peter Rosenfeld<\/p>\n

Assistants:<\/b> Jimmy Apted, Tucker Korte, Paul Toomey<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

A 6K Data-intensive workflow enables Jeff Cronenweth, ASC, to chase down a “gone girl” in his newest collaboration with David Fincher. A series of mysteries form the core for the best-selling novel Gone Girl and its film adaptation, the subject of which is a married couple\u2019s difficulties after they lose their writing jobs and move from the east coast to Missouri. The big question marks in Gillian Flynn\u2019s popular book (as well as her own screenplay adaptation) are: to where […]<\/p>\n","protected":false},"author":1,"featured_media":4602,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[2],"tags":[333,29,300,332,36,334],"class_list":["post-4601","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features","tag-ben-affleck","tag-cinematography","tag-david-fincher","tag-gone-girel","tag-icg","tag-jeff-cronenweth"],"acf":[],"yoast_head":"\nModern Family - ICG Magazine<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.icgmagazine.com\/web\/modern-family\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Modern Family - ICG Magazine\" \/>\n<meta property=\"og:description\" content=\"A 6K Data-intensive workflow enables Jeff Cronenweth, ASC, to chase down a “gone girl” in his newest collaboration with David Fincher. 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