Issue link: https://digital.copcomm.com/i/426326
www.postmagazine.com 24 POST NOVEMBER 2014 INTERSTELLAR BEST PICTURE, DIRECTING, VISUAL EFFECTS Christopher Nolan's most ambitious fi lm yet, the sci-fi space drama Interstellar, received so much buzz prior to its opening, it was already being lauded as an Oscar nominee in multiple categories, such as Best Picture, Directing and Visual Eff ects. In fact, in Post's recent interview with the fi lm's VFX supervisor, (see page 18), Double Negative's Paul Franklin says, "What you see in the trailers only scratches the surface of the fi lm." With more than 700 VFX shots and some innovative techniques, the fi lm very well could get a VFX nod from the Academy. But the question remains, will it stand on its own in terms of directing, storytelling and the human connection with audiences based on such themes as love and family? OSCAR OUTLOOK GONE GIRL DIRECTING, FILM EDITING, CINEMATOGRAPHY David Fincher raised the bar with his latest release, Gone Girl, shooting in 6K with Red's Dragon camera. The 20th Century Fox fi lm created workfl ow chal- lenges, which were addressed by the teams at FotoKem and Light Iron. Gone Girl looks at secrets within a modern-day marriage, and whether they could have lead Nick Dunne (played by Ben Affl eck) to have a hand in the dis- appearance of his beautiful wife, Amy (Rosamund Pike). Kirk Baxter, ACE, cut the feature within Adobe Premiere. Tyler Nelson served as assistant editor, with Jeff Brue acting as post engineer and Peter Mavro- mates working as post supervisor. FotoKem provided the production with its NextLab mobile dailies solution, a 150TB turnkey system that allowed the post team to ready material for diff erent lines in the picture supply chain. In Hollywood, Light Iron's supervising DI colorist Ian Vertovec helped defi ne the fi lm's neutral grade using a Quantel Pablo Rio with additional GPUs. The Quantel system was able to downconvert a 4K version of the feature for real- time grading in the studio's DI theater on a Christie projector. FOXCATCHER DIRECTING Director of the Oscar-nominated fi lms Capote (2005) and Moneyball (2011), Bennett Miller says he relied heavily on the post production process to tell the story in his latest off ering, Foxcatcher, which stars Channing Tatum, Steve Carell and Mark Ruff alo. The fi lm is centered on an Olympic Gold Medal-winning wrestler Mark Schultz and some very complex relationships with his older brother (a more renowned wrestler) and a wealthy heir who becomes involved in Schultz's pursuit of a medal in the 1988 Olympics. Ac- cording to Miller, the approach was to shoot documentary style, not overly scripted or storyboarded, relying on improvisation, and catching the right take on fi lm. Miller also heavily relied on music and sound to tell his story in a fi lm that spent almost a year in post — with three editors making the cuts. Post, says Miller, is "really where movies are made, and for me, every- thing that proceeds post is just about getting all the material together that you need so you can actually begin making the movie." See our "Director's Chair" column on page 16 for a full interview with the fi lmmaker.