So if you’re not aware already, David Fincher’s dysfunctional marital that takes a terrible turn has hit the cinemas. If you’re watching the movie in the Middle East, the film has been cut in accordance with the laws here. However fret not, most of the cuts have been done very aptly in a manner that dialogue and continuity is kept intact. Here’s how they did it, instead of seeing a full frame, we see the screen zoom into an empty part of the frame.
Clarity loss doesn’t occur in any case because this film is shot entirely in 6K and it’s taken beautifully. Fincher essentially built an innovative production pipeline powered by NVIDIA’s next-gen Quadro K5200 GPUs. It’s also the first fully edited in Adobe Premiere Pro CC, which extended the filmmakers’ flexibility throughout post-production. The filmmakers had more room to experiment in composing the shot sequences in the movie since there was an impressive time difference working on the platform much faster than what the common industry format does. Custom HP Z820 workstations ensured that Gone Girl’s shoot, editorial and visual effects (VFX) teams had a lot to work with. The film, captured on a RED Dragon camera by DP Jeff Cronenweth, also benefitted from Quadro’s GPU debayering support in Premiere Pro CC. This eliminated the need for extra hardware. It also helped the post-production team distribute footage across many VFX workstations rather than one central system. Using multiple workstations means it renders out much quicker.
It’s natural that most consumers perceive Nvidia as a consumer brand in gaming GPU’s but they’re definitely giving the film industry a run for its money as well. Nvidia’s latest iterations of the GTX 970 and GTX 980 can also render out video pretty quickly and it won’t be long before we see an entire market of young filmmakers adopting GPU’s which are affordable to produce their own films with a minimal budget.