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 David Fincher's "Social Network" shot on RED
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PostPosted: Thu Oct 22, 2009 12:22 pm    Post subject: David Fincher's "Social Network" shot on RED Reply with quote

David Fincher is shooting his next movie, "Social Network", written by Aaron Sorkin and starring Justin Timberlake, with "Fight Club" Cinematographer, Jeff Cronenweth on RED ONE Cameras.

http://www.imdb.com/title/tt1285016/

The Cameras are new prototype RED ONE's that have been upgraded to the new Mysterium-X sensor, which offers 5K resolution, as well as much improved Dynamic Range.

Fincher, who has been known to embrace new digital technologies, had made several films using Thomson / Grass Valley's Viper FilmStream Camera, but recently changed over to using RED when he shot a big budget Nike commercial:

http://www.youtube.com/watch?v=jlXRengzZoc

"Social Network's" Cinematographer, Jeff Cronenweth, A.S.C. had this to say about his experience with the RED ONE...

"To say that RED and the new Mysterium-X Sensor is impressive is tantamount to saying that Napalm is a little itchy. The sensor’s increased resolution is an obvious bonus but the expanded latitude especially at the high end and the dynamic color range makes this camera a tremendous asset to any cinematographer’s arsenal. The Mysterium-X’s amazing ability to handle both mixed color temperatures and low light situations affords us exciting opportunities to push the boundaries of our craft."

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PostPosted: Tue Oct 27, 2009 10:22 pm    Post subject: Reply with quote

Fincher recently answered some student's questions at a Q&A when he was on location shooting "Social Network" at a school. Here is are some quotes from the session according to some who were there:

Q: "Your past couple of films, Zodiac and Benjamin Button, were primarily shot digitally on the Viper FilmStream, but I read on a blog post by RED CEO Jim Jannard that you're planning to shoot The Social Network on a RED One with the new Mysterium-X Sensor. I was wondering what factors influenced you to make this switch, and what your initial impressions are."

A: "Well... I really liked it, I think its a very beautiful picture, and I think my decision to shoot digitally... I know everyone wants to get in the middle of a fight. I'm not rescinding any respect or love that I have for film or cinema by choosing to [shoot on RED]. I mean for the most part this film will be distributed on film, but the writing is on the wall. If you don't believe me, I have some stock in Kodak I'd like to sell you, because this is just not the way motion pictures are gonna be made three years from now. I mean distribution wise its always been the cheapest and most... you know there were more avenues and more people experienced in handling this media and this form. That's so quickly going away. We really like the images that we're getting out of the RED, we really like... I really like the sense of what the picture is, I like that its not so clean that it looks like video tape, like "digital", and when I put airquotes around it, I mean that it doesn't have that plasticky waxworks-like look that makes faces look oddly plasticky. But for me, its so much more than just about the camera. I enjoy an extremely fast-response relationship with RED, they've been incredibly helpful. I think in terms of what I've seen, where the Epic is headed, it looks to me like the Model-T of digital recording devices. I really think its gonna be the defacto standard for what we're gonna be doing: you just flip a button and decide, are you doing reality television, here it is at 1k, here it is a 2k, here it is at 5k, you can decide to ramp up the resolution as you need it. It's an amazing, amazing tool, but for me the decision to go digitally, whether or not you record your initial performances on film, or on some sort of digital media, has more to do with the back end, and what it allows us to do in post, and how it allows us to think about the filmmaking process. For me, being digital means that, in talking to collaborators, instead of drawing a stick figure on a napkin, I'm taking a photo off my iPhone and sending it to them, and they're writing on it and sending it back to me and we're talking in pictures, we're talking in terms of Quicktimes, we're talking in terms of, if its tracking shots, 'it should start here and move here, and it should be very slow and elegant, and... here's an example of it'. That's what I'm looking for, I'm looking for a view out of a window of a helicopter going over the trees, and this is the image I'm looking for. So we're collaborating and talking about things not in terms of 'Let me find the word, or let me find the adverb to describe what it is', its 'Here's a picture of it. Here's a picture of the shorts I was thinking about for this character, or the sandals'. Instead of it being this thing where you're one layer of the onion removed, you're constantly dealing in pictures, and that's far more important to me than even the sensor that's recording the performance. I still think there's plenty of room for people who choose to film stuff with the Panaflex, and then take it and laser record it, and bring it to disc-ray, and hold on to that image and throw the film on it, you can do it that way. I just prefer to go end to end."

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PostPosted: Tue Jun 29, 2010 10:40 am    Post subject: Social Network teaser trailer Reply with quote

Social Network teaser trailer released...

http://www.youtube.com/watch?v=mWoUgftTj3Y&feature=player_embedded?cnn=yes

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