Yep, but I think Cronenweth deserves some recognition as well. The Social Network was a beautifully lit film in my opinion.

Wally- " They should of shot it on film."

Wally- " They should of shot it on film."

Wally's a film guy for life. I think the Red One MX preformed beautifully on The Social Network (it looks damn good on the new Pirates of the Caribbean as well). Not to mention that a lot of the low light/natural light situations in The Social Network simply wouldn't have been possible on film.

Wally's a film guy for life. I think the Red One MX preformed beautifully on The Social Network (it looks damn good on the new Pirates of the Caribbean as well). Not to mention that a lot of the low light/natural light situations in The Social Network simply wouldn't have been possible on film.

I think the sole reason Fincher uses the Red One is just so he can have as many takes as he wants and what not. I really do not think he uses it because he thinks the image quality is better but that is just me.

I think the sole reason Fincher uses the Red One is just so he can have as many takes as he wants and what not. I really do not think he uses it because he thinks the image quality is better but that is just me.

That's definitely a reason. With an average of 25 takes, 35mm would get expensive! I think another is definitely the low light. Fincher really loves shooting in low light situations and with the new MX sensor you can get as high as 3200 ISO's without grain, whereas on film you can only get up to 800 ISO without grain, and that's if you're lucky. The scene where Mark is walking through Harvard's campus in the beginning would have been grainy as hell and a bitch to light on film. And since it records at 4K, you really aren't losing much image quality.

Cronenwerth couldn't have lit the way he did on film. He couldn't have lit in 30 minutes if he shot on 35mm. He couldn't have used so many practicals if he shot on film. Fincher couldn't have rolled and done as many takes if they shot it on film. Sure the quality isn't as great as it could be since the RED is lacking in the bit depth department and a little in the theoretical resolution space, but it still looks fantastic.

Red footage at ISO 3200 is noisy too, part of the reason why the Social Network is shot at T1.3 through out.

What's it's ISO limit? I remember reading somewhere that it could go to 3200 without grain (assuming a fast lens), but I could be mistaken.

This test that Fincher did, remember this video? Shot at 2000 at T1.3, not you can see the noise creeping in, but it's still a very lovely image. The point is, look at how dark that scene is, the key is the match and it lights Leo's face completely.


I doubt much if any of TSN was shot at 3200. The EPIC I believe is rated at 800, haven't shot with one yet only RED One MX. It's so flexible in post anyway. EPIC is supposed to be noiseless from 200 to 1000.

I guess you can say the limit is 6400, that's as much as they'll even let you push it in post.

It makes me wish David Fincher would direct "The Devil in the White City" using the RED.

One of my favorite directors doing a movie with my favorite actor about my favorite serial killer ...

Good to know. Yeah, I remember seeing that video awhile back; the noise is very mute. Either way, the MX and EPIC's noise level is reduced significantly from that of 35mm or even a DSLR, and that low light capability was definitely utilized in The Social Network. I'm still amazed that in the club scene and opening Harvard night exterior that there wasn't any noticeable grain, pretty incredible.

Cilogy wrote:It makes me wish David Fincher would direct "The Devil in the White City" using the RED.

One of my favorite directors doing a movie with my favorite actor about my favorite serial killer ...

you got a favourite serial killer?

just kiddin' :mrgreen: