Tag Archives: Gone Girl

Face to face in a Web-centric world

Why groups like LAPPG are more relevant than ever

By Wendy Woodhall

I’m always appreciative and humbled when, after spending a 10-hour day in a dark room dealing with a producer’s demands, crashing systems and updating software, folks are motivated enough to drive across town through horrible LA traffic to join us for a night of learning, networking and camaraderie.

In 2008, when we started the Los Angeles Post Production Group (LAPPG), a user group/professional organization, we took a leap of faith that people in the post industry wanted to have a social experience with others engaging in similar work. We were right.

What began as a small monthly gathering held in the lobby of our studio — Allied Post Audio, Continue reading

FotoKem’s nextLab pushes envelope with Gone Girl’s 6K workflow

 The last piece in our Gone Girl workflow series.

By Daniel Restuccio

Back in the fall of 2013, FotoKem was prepping and packing up one of its nextLab data field systems and shipping it to a hotel in Cape Girardeau, Missouri. This particular hotel was the off-set digital asset processing hub for David Fincher’s Gone Girl, which is being released on Blu-ray/DVD on January 13 and has also garnered a considerable amount of Oscar buzz this season.

This movie represented a new chapter for the system — Gone Girl was about to become the first major feature film shot entirely on the Red Dragon at 6K and edited with Adobe Premiere Pro Creative Cloud.

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65th Annual ACE Award noms include tie for Best Feature Drama category

The nominees for the 65th Annual ACE Eddie Awards recognizing editing in 10 categories of film, television and documentaries has been announced. Winners will be presented with statuettes during ACE’s annual awards ceremony on January 30 at the Beverly Hilton Hotel.  Next week, the American Cinema Editors will announce the Golden Eddie Filmmaker of the Year honoree and two Career Achievement honorees.

For only the second time in the organization’s history, a tie resulted in an additional nominee in the Best Edited Feature Film (Dramatic) category creating six nominees instead of five, indicating a tie in the number of votes for the fifth placing films.

The ACE Eddie Award nominees are listed below.

BEST EDITED FEATURE FILM (DRAMATIC): TIE!
American Sniper
Joel Cox, ACE & Gary Roach, ACE

Boyhood
Sandra Adair, ACE

Kirk Baxter

Kirk Baxter

Gone Girl
Kirk Baxter, ACE

The Imitation Game
William Goldenberg, ACE

William Goldenberg

William Goldenberg

Nightcrawler
John Gilroy, ACE

Whiplash
Tom Cross

BEST EDITED FEATURE FILM (COMEDY OR MUSICAL):
Birdman
Douglas Crise & Stephen Mirrione, ACE

Guardians of the Galaxy
Fred Raskin, Hughes Winborne, ACE & Craig Wood, ACE

Into the Woods
Wyatt Smith

Inherent Vice
Leslie Jones, ACE

Grand Budapest Hotel
Barney Pilling

BEST EDITED ANIMATED FEATURE FILM:
Big Hero 6
Tim Mertens

The Boxtrolls
Edie Ichioka, ACE

Lego Movie
David Burrows & Chris McKay

BEST EDITED DOCUMENTARY (FEATURE):

Citizenfour
Mathilde Bonnefoy

Finding Vivian Maier
Aaron Wickenden

Glen Campbell: I’ll Be Me
Elisa Bonora

BEST EDITED DOCUMENTARY (TELEVISION):
Cosmos: A SpaceTime Odyssey: Standing Up in the Milky Way
John Duffy, ACE, Michael O’Halloran, Eric Lea

Pauly Shore Stands Alone
Troy Takaki, ACE & Joey Vigour

The Roosevelts: An Intimate History: Episode 3 / The Fire of Life
Erik Ewers

BEST EDITED HALF-HOUR SERIES FOR TELEVISION:
Silicon Valley: “Optimal Tip to Tip Efficiency”
Brian Merken & Tim Roche

Veep: “Special Relationship”
Anthony Boys

Transparent: Pilot
Catherine Haight

BEST EDITED ONE-HOUR SERIES FOR COMMERCIAL TELEVISION:
24: “10pm to 11am”
Scott Powell, ACE

Mad Men: “Waterloo”
Christopher Gay

Madam Secretary: “Pilot”
Elena Maganini, ACE & Michael Ornstein, ACE

Sherlock: “His Last Vow”
Yan Miles

The Good Wife: “A Few Words”
Scott Vickrey, ACE

BEST EDITED ONE-HOUR SERIES FOR NON-COMMERCIAL TELEVISION:
True Detective: “Who Goes There”
Affonso Goncalves

True Detective: “The Secret Fate of All Life”
Alex Hall

House of Cards: “Chapter 14”
Byron Smith

BEST EDITED MINISERIES OR MOTION PICTURE FOR TELEVISION:
Fargo “Buridan’s Ass”
Regis Kimble

Olive Kitteridge: “A Different Road”
Jeffrey M. Werner, ACE

The Normal Heart
Adam Penn

BEST EDITED NON-SCRIPTED SERIES:
Anthony Bourdain: Parts Unknown: “Iran”
Hunter Gross

Deadliest Catch: “Lost At Sea”
Josh Earl, ACE & Johnny Bishop

Vice: “Greenland is Melting & Bonded Labor”
Joe Langford & Nick Carew

Final Ballots will be mailed on January 5 and voting ends on January 21.  The Blue Ribbon panels where judging for all television categories and the documentary film category take place January 18.  Projects in the aforementioned categories are viewed and judged by panels comprised of professional editors (all ACE members).  All 700-plus ACE members vote during the final balloting of the ACE Eddies, including active members, life members, affiliate members and honorary members.

Radical/Outpost’s Evan Schechtman talks latest FCP X updates, NLE trends

By Randi Altman

As you might have heard, Apple has updated its Final Cut Pro to version 10.1.4, with what they call “key stability improvements.”

That includes the Pro Video Formats 2.0 software update, which provides native support for importing, editing and exporting MXF files with Final Cut Pro X. While the system already supported import of MXF files from video cameras, this update extends the format support to a broader range of files and workflows.

In addition the native MXF support, there is also an option to export AVC-Intra MXF files.  There are fixes for past issues with automatic library backups. It also fixes a problem where clips Continue reading

‘Gone 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.”

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Pioneering 6K post workflows for ‘Gone Girl’

By Daniel Restuccio

David Fincher’s Gone Girl, shot on a Red Dragon in 6K, boasts an innovative editorial workflow that integrates top-end hardware and software into a seamless 6K editing, VFX and conforming system.

Pioneering a tightly integrated SSD shared-storage system, Gone Girl was edited on 13 custom-built workstations based on Apple Mac Pros and HP Z820s boasting Nvidia GPU cards, Fusion-io solutions, as well as customized versions of Adobe Premiere Pro Creative Cloud and After Effects Creative Cloud, and editorial managed through Open Drives media storage system.

“Basically what happened,” explains assistant editor Tyler Nelson, “is we brought Jeff (Brue, co- Continue reading

Kirk Baxter on editing David Fincher’s ‘Gone Girl’

By Daniel Restuccio

When David Fincher took on the film Gone Girl, he immediately started to round up the “usual suspects,” his most trusted collaborators, including Kirk Baxter, who has two Editing Oscars on his mantle from previous work with Fincher (The Social Network and The Girl With the Dragon Tattoo).

Gone Girl is based on Gillian Flynn’s book Gone Girl; Flynn also wrote the screenplay. The film follows Nick Dunne (Ben Affleck), a husband who either knows or doesn’t know the whereabouts of his missing wife.

Baxter began cutting Gone Girl on September 16, 2013: day two of shooting. And for the first time in three movies with Fincher, Baxter cut this one alone and without his frequent co- Continue reading