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The crewing sequences, shot by the second unit aboard two-man racing sculls, posed another problem: the cameras were too heavy for the boats. Fincher asked Red if there was a way to somehow lighten the load. “The Empacher boats are fragile and flex a lot, so we needed lightweight camera mounts and bodies,” explains Cronenweth. “Red stripped the Ones down and gave them carbon-fiber bodies; they weighed less than 6 pounds each. That freed us to place them wherever we needed without interfering with the integrity of the boats or compromising the athletes’ performances.”Red’s close partnership with Fincher continued through post: Red invited the filmmakers to do the entire DI process on Red Studios’ Stage 4 in Hollywood. There, a 20'x40' theatrical screen and a Sony SRX T420 4K projector were available for colorist Ian Vertovec of LightIron Digital, who graded the picture on Quantel’s Pablo Neo. (The movie’s assembly work was handled by Fincher’s editorial team, which sent media to Vertovec as DPX-sequence equivalents of reels on hard drives.) After the color timing was complete, the picture underwent a noise-and-grain-reduction sweep at Reliance MediaWorks’ Lowry Digital. The finalized files were filmed out at 2K at Technicolor, where David Orr timed the answer print. (Technicolor and Deluxe Laboratories did the release printing. LightIron Digital created the DCDM master.) “I think the MX chip made a huge difference in the DI,” says Vertovec. “With digital cameras, you often fight the signal-to-noise ratio in shadows. You often get a lot of contamination in colors down there, because you try to boost the signal, but you also push it down to avoid a lot of dancing in shadows. With the MX sensor, when stuff goes dark, it just goes dark. When you look at your waveform monitor, blacks are almost a solid line because there is almost no noise. David wanted the picture to be dark and moody, and they didn’t overlight it on set and then ask me to push it down. We could move things around, certainly, but still stay at the low light level they wanted.”
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TECHNICAL SPECIFICATIONS
2.40:1 Digital Capture Red One Arri Master Primes Digital Intermediate Printed on Fuji Eterna-CP 3513DI
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