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Watch: First Footage From New 6K RED Dragon Camera That David Fincher Is Using For 'Gone Girl'

by Kevin Jagernauth
October 14, 2013 10:20 AM
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While he's yet to make a big, summer tentpole, if and when he does, there few filmmakers who have such a keen grasp on current, cutting edge technology than David Fincher. Whether aging Brad Pitt backwards, virtually creating double Armie Hammers, or recreating the 1970s San Francisco skyline, Fincher has long turned to the latest in digital wizardry to help accomplish his cinematic visions. And while on paper his currently shooting "Gone Girl" looks like a straight-ahead thriller, Fincher is using the shoot to again push things forward.

In an interview with Southeast Missourian, the director revealed he was was using the latest and greatest, RED digital cameras. "We are working with at least a six-pack of the new Dragon cameras that they've built. For a digital camera, they see sunlight really well. They're the next evolution of the Epic," he shared. So, what's the big deal with these cameras?

Well, simply put, it's a 6K camera, which according to RED's own site, offers up 9 times more resolution than your standard HD and can capture images in natural light better than anything before. Basically, it will melt your face off, though you likely won't see the finished film projected at 6K. Regardless, it will allow Fincher to create the most spectacular imagery possible in the digital moviemaking world.

In another interesting tidbit from the interview, when asked about how his favorite director of all time is, Fincher couldn't just pick one. "I don't know. It's like being asked what your favorite movie is and I have about 300 of those. Maybe George Roy Hill up until 'The World According to Garp.' There was a point in time when Francis Coppola was like Ted Williams," he said. "He had 'The Godfather,' 'The Conversation,' 'The Godfather: Part II' and 'Apocalypse Now' in a row. Spielberg had a run up until 'E.T.' that was astounding with five or six classics. So, I don't know. It's kind of like being asked, 'What's your favorite meal?' "

Well, until we see what meal Fincher will serve us next year with "Gone Girl," here is a sizzle reel of RED Dragon footage shot by DP Mark Toia, via No Film School, and he enthusiastically claims this is the best digital camera to come along, ever. (You can download the full video file at Vimeo for even greater detail).

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More: David Fincher, Gone Girl

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  • Trent | November 11, 2013 1:27 AMReply

    When is he making the girl who played with fire? Arggh, desperately waiting for it!

  • Matt | April 16, 2014 3:04 AM

    He's not, he dropped out pretty early after the first one. I'm not sure if it's being made at all anymore.

  • cineman | October 14, 2013 11:15 AMReply

    Would be more interested in Fincher making a great movie again (more Social Network than Dragon Tattoo). Especially as he overloads his "faux sepia" tones when he obsesses about new digitech.

  • Glass | October 15, 2013 2:51 AM

    So what's a "faux sepia" tone again, genius?

  • Alan B | October 14, 2013 4:10 PM

    What's so "contrived" about the dialogue? And what makes the film a "TV movie"? Because it has long stretches of dialogue? Because it asks the director to service the needs of the story? What is so uncinematic about it? Is it the use of flashbacks, parallel editing, slow motion, cut-ins, carefully constructed left-to-right/right-to-left staging, dollies, match cut on action etc.? Because, from what I gather, those are famously UN-cinematic techniques. I guess some people just want Fincher to do the same thing ... over and over and over and over because only one genre is cinematic. Maybe he needed to throw in a serial killer into the story because that's the only way to do something that isn't a "TV movie", right?

  • droop | October 14, 2013 1:49 PM

    Couldn't agree more with Eldricht.

  • tristan eldritch | October 14, 2013 11:23 AM

    Fincher is best making thrillers - his talents were wasted on The Social Network, basically a TV movie with Aaron Sorkin's repetitive and contrived verbal ping-pong in lieu of substance.

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