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‘Gone Girl”s Visual Style and 6K Workflow

"'Gone Girl' is essentially an intricate human chess game," cinematographer Jeff Cronenweth says.

Cinematographer Jeff Cronenweth talks to about lensing David Fincher’s latest, Gone Girl. The adaptation of the bestselling book tells the story of a young wife who goes missing on the day of her fifth wedding anniversary.

Gone Girl is essentially an intricate human chess game; the characters and dialogue are the driving force of the drama,” Cronenweth says. “So my challenge was to try and find a visual style that doesn’t get in the way of the story, but helps it along seamlessly.”

The film was also the first studio film to be shot entirely in 6K with the new RED Dragon. “While the obvious increase in resolution is phenomenal, for me, it was the latitude and color science that were the real game changers,” the cinematographer explains. “David and I have a long relationship with RED, and we’re big admirers of their progressive technology—they’re constantly seeking feedback and incorporating those ideas into reality, so their cutting-edge technology continues to remain streets ahead of the game.”

The film was also the first major studio production to be edited on Adobe Premiere Pro CC. The production team worked closely with the engineers at Adobe to create a custom workflow that could handle the high resolution and data.

Read the full story here.