Girl: Light Iron and
David Fincher’s path to 6K
By Daniel Restuccio
Light Iron Post CEO Michael Cioni is an outspoken and passionate advocate of pushing the edge of post technology for the mission of getting the best images possible on screen. David Fincher’s
Gone Girl represents the third movie, following The Social Network and
The Girl With the Dragon Tattoo, that Cioni and his team have collaborated on with the director.
“If you are really doing something profound, you can’t solve it in one project,” shares Cioni, whose company has offices in LA and New York. With David Fincher and his team, key ideas don’t get put to the wayside after the movie finishes. “They store it, develop it and improve it, and then it’s re-deployed with more advanced technology on the next project.”
The Social Network was the beginning of the “shoot for more resolution than you need extraction technique.”
The Social Network was shot in 4.5K (4480×1920), had a 2.3K DI and was released in 2K (2048×1080), so Fincher had 9% extra resolution: 200 extra pixels horizontally and vertically to do stabilization, repositioning, tracking and split screen.
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