Jump to content



Sign up for a free account to remove the pop-up ads

Signing up for an account is fast and free. As a member you can join in the conversation, enter contests and remove the pop-up ads that guests get. Click here to create your free account.

Photo
- - - - -

A few words about...™ The Girl with the Dragon Tattoo (2011) -- in Blu-ray

A Few Words About

This topic has been archived. This means that you cannot reply to this topic.
12 replies to this topic

#1 of 13 OFFLINE   Robert Harris

Robert Harris

    Lead Actor



  • 7,553 posts
  • Join Date: Feb 08 1999
  • Real Name:Robert Harris

Posted March 30 2012 - 09:40 AM

There's nothing quite like a foreign hit with tremendous domestic potential for a U.S. re-make to bring out funding and talent, and TGwtDT is a perfect example.


Budgeted at just below 100 million dollars, and with a worldwide gross currently at over 230 million, the film portends to be a financial winner once receipts from home video begin to roll in.


One would presume that the new Blu-ray from Columbia / Sony would be a perfect match to the theatrical, and that presumption would be correct.  Needle sharp, when necessary, with shadow detail and color also dead on, this is a gorgeous Blu-ray.


But it should be.  Data in.  Data out.


Shot on Red -- both Epic and Red One -- at over 4k resolution, and taken to a DI, also at 4k, The Girl with the Dragon Tattoo goes a huge step further in David Fincher's use of digital technology, and a long way from the textural look of his 2007 Zodiac, which was shot at 1920 x 1080.  I recall viewing that film, and being not totally impressed by the digital work.


Only four years later, and with both Benjamin Button and Social Network added to his technical scorecard, and with Jeff Cronenweth, who also shot Social Network at the visual helm, this is a film that takes the latest innovations in digital technology, and uses everything available to best advantage.


If anyone has any concerns regarding the ability of digital cinematography to properly tell a story and capture the world as desires, this is a film that proves the format's abilities.


I'll not get into differences in plot or comparisons to the original Swedish version, which is also superb.  Mr. Fincher's version stands on its own merits.


A wonderfully dark and entertaining film from all aspects, and an absolutely perfect Blu-ray experience.


The most interesting thing here, from my perspective, is that over a four year period, one can track the growth of digital cinema, via its use by one of our best filmmakers.  Watching the four films within a couple of day will give you all the background you need to understand the changes occurring during this very short period and how it it affected filmmaking.


This is home theater at its best,


Highly Recommended.


RAH

http://ws.assoc-amaz...ersion=20070822http://www.assoc-amazon.com/e/ir?t=afewwordsabout-20&l=as2&o=1&a=B003Y5H5HY




"All men dream: but not equally. Those who dream by night in the dusty recesses of their minds wake in the day to find that it was vanity: but the dreamers of the day are dangerous men, for they may act their dreams with open eyes, to make it possible. This I did." T.E. Lawrence


#2 of 13 ONLINE   TravisR

TravisR

    Studio Mogul



  • 22,173 posts
  • Join Date: Nov 15 2004
  • LocationThe basement of the FBI building

Posted March 30 2012 - 11:11 AM

As with all of David Fincher's special editions, the extras are top notch. For my money, Fincher is the best filmmaker since the heyday of the great directors of the 1970's and having tons of footage of him working and talking about his work is going to be fascinating for film buffs in the coming decades (imagine if this much footage of Hitchcock or Kubrick at work existed).

#3 of 13 OFFLINE   theonemacduff

theonemacduff

    Second Unit



  • 321 posts
  • Join Date: Nov 10 2010
  • Real Name:Jon Paul
  • Locationthe wet coast

Posted March 31 2012 - 09:51 AM

Absolutely agree with TravisR. One of the joys of the Panic Room DVD set was not so much the film (which is okay, but not, shall we say, for the ages), as it was the massive supplementary package, which told you everything you needed to know about how the film was made, including fascinating sidebars on such things as using Super 35 to best advantage, and the implications of using a two perf system as opposed to (I think) a three perf. As to that, Fincher noted that producers, of course, wanted him to use the two perf, because it was cheaper and you can hear the scorn for that decision in his voice as he says the words. I love Fincher's films (except maybe The Game, which I have only seen once, and which I thought had plot-hole problems; but maybe I should see it again), and absolutely love hearing him talking about his work.

#4 of 13 OFFLINE   SeanAx

SeanAx

    Stunt Coordinator



  • 121 posts
  • Join Date: Jan 06 2011
  • Real Name:Sean Axmaker
  • LocationSeattle, WA

Posted April 01 2012 - 09:32 AM

Allow me to chime in to agree with all that has been said above. David Fincher Blu-ray releases are perhaps the only discs that justify a purchase on the quality of the supplements ALONE. All of the discs over which Fincher has exerted creative control over the supplements provide thoughtful, in depth, articulate documentaries, featurettes, interviews and commentary tracks that tell more about the process of making a film, from both the creative and the practical (technical) aspects, than almost any other disc out there. (Peter Jackson's releases are in the same category.)


Sean Axmaker
Videophiled, the home video column of Cinephiled (http://www.cinephiled.com/)
Editor of Parallax View (http://parallax-view.org)
Member of the Online Film Critics Society (http://www.rottentom...com/author-229/)

 


#5 of 13 OFFLINE   JParker

JParker

    Second Unit



  • 309 posts
  • Join Date: Nov 11 2011

Posted May 18 2012 - 09:57 AM

One would presume that the new Blu-ray from Columbia / Sony would be a perfect match to the theatrical, and that presumption would be correct. Needle sharp, when necessary, with shadow detail and color also dead on, this is a gorgeous Blu-ray. But it should be. Data in. Data out. Shot on Red -- both Epic and Red One -- at over 4k resolution, and taken to a DI, also at 4k, The Girl with the Dragon Tattoo goes a huge step further in David Fincher's use of digital technology, and a long way from the textural look of his 2007 Zodiac, which was shot at 1920 x 1080. I recall viewing that film, and being not totally impressed by the digital work. Only four years later, and with both Benjamin Button and Social Network added to his technical scorecard, and with Jeff Cronenweth, who also shot Social Network at the visual helm, this is a film that takes the latest innovations in digital technology, and uses everything available to best advantage. If anyone has any concerns regarding the ability of digital cinematography to properly tell a story and capture the world as desires, this is a film that proves the format's abilities.

I confess I've no interest in this particular film, with its rather sordid and brutal subject matter. However, if you are out in the ether somewhere, Mr. Harris, I've a question for you, although I've no idea if you've worked behind the camera but I suspect you know cinematographers. And my question is the art of lighting a lost art, that is the way painting with light was done in some of the classic black and white films of the 1930s and 1940s, and even color. I have seen the Criterion Collection Blu-ray of Fincher's Benjamin Button, and that looked like film. But do 21st century 'cameramen' have the knowledge of the late Jack Cardiff, whom you wrote about here: http://www.hometheat...diff-in-blu-ray To me the recent Oscar winner, The Artist, looked as if 1980s ILM blue screen photography were stripped of color: flat. I wonder your thoughts. It's not a digital versus film issue, I suspect, I wonder if Mr. Cardiff discussed the passing of his skills to future generations. I think the knowledge may be lacking. Of course true artistry is a gift that can't be taught. Do you see in any recent work skilled use of chiaroscuro, for example? Thanks.

#6 of 13 OFFLINE   Robert Harris

Robert Harris

    Lead Actor



  • 7,553 posts
  • Join Date: Feb 08 1999
  • Real Name:Robert Harris

Posted May 18 2012 - 12:10 PM

Originally Posted by JParker 

Quote:
One would presume that the new Blu-ray from Columbia / Sony would be a perfect match to the theatrical, and that presumption would be correct. Needle sharp, when necessary, with shadow detail and color also dead on, this is a gorgeous Blu-ray.
But it should be. Data in. Data out.
Shot on Red -- both Epic and Red One -- at over 4k resolution, and taken to a DI, also at 4k, The Girl with the Dragon Tattoo goes a huge step further in David Fincher's use of digital technology, and a long way from the textural look of his 2007 Zodiac, which was shot at 1920 x 1080. I recall viewing that film, and being not totally impressed by the digital work.
Only four years later, and with both Benjamin Button and Social Network added to his technical scorecard, and with Jeff Cronenweth, who also shot Social Network at the visual helm, this is a film that takes the latest innovations in digital technology, and uses everything available to best advantage.
If anyone has any concerns regarding the ability of digital cinematography to properly tell a story and capture the world as desires, this is a film that proves the format's abilities.

I confess I've no interest in this particular film, with its rather sordid and brutal subject matter. However, if you are out in the ether somewhere, Mr. Harris, I've a question for you, although I've no idea if you've worked behind the camera but I suspect you know cinematographers. And my question is the art of lighting a lost art, that is the way painting with light was done in some of the classic black and white films of the 1930s and 1940s, and even color. I have seen the Criterion Collection Blu-ray of Fincher's Benjamin Button, and that looked like film.
But do 21st century 'cameramen' have the knowledge of the late Jack Cardiff, whom you wrote about here:
http://www.hometheat...diff-in-blu-ray
To me the recent Oscar winner, The Artist, looked as if 1980s ILM blue screen photography were stripped of color: flat.

I wonder your thoughts. It's not a digital versus film issue, I suspect, I wonder if Mr. Cardiff discussed the passing of his skills to future generations. I think the knowledge may be lacking. Of course true artistry is a gift that can't be taught. Do you see in any recent work skilled use of chiaroscuro, for example?
Thanks.

It has little to do with digital vs. film.


Every cinematographer that I have met or know, is a craftsperson.


Every project is different.


And one cannot compare Freddie Young's shafts of light, filtering their way through the apple barrel in Treasure Island (1950), to a multitude of new films, which are able to create an image with little or no light.


Many DPs are still "lighting cameramen," be they men or women.  But it is the project that creates the demands for the specific look.


Do our current DPs know cinematography?


Absolutely.


They carry on a tradition, adding to the what came before, and taking away nothing, and adding.


Constantly adding.


To me, the cinematographers are the true heroes of film.


RAH


"All men dream: but not equally. Those who dream by night in the dusty recesses of their minds wake in the day to find that it was vanity: but the dreamers of the day are dangerous men, for they may act their dreams with open eyes, to make it possible. This I did." T.E. Lawrence


#7 of 13 OFFLINE   Robert Harris

Robert Harris

    Lead Actor



  • 7,553 posts
  • Join Date: Feb 08 1999
  • Real Name:Robert Harris

Posted May 19 2012 - 12:57 AM

Originally Posted by JParker 

I wonder your thoughts. It's not a digital versus film issue, I suspect, I wonder if Mr. Cardiff discussed the passing of his skills to future generations. I think the knowledge may be lacking. Of course true artistry is a gift that can't be taught. Do you see in any recent work skilled use of chiaroscuro, for example?
Thanks.

I neglected to hit "chiaroscuro," which brings us back to the concept of painting with light.


And I don't have an immediate answer for you.  We can re-visit older films, especially those of Gordon Willis, like The Godfather, which are more of situation of taking away the light until you reach your goal.


This is actually an interesting point of discussion, as it relates to newer films, and the abilities of various chips to capture light and dark.


I'm going to have to reach out for answer.


RAH


"All men dream: but not equally. Those who dream by night in the dusty recesses of their minds wake in the day to find that it was vanity: but the dreamers of the day are dangerous men, for they may act their dreams with open eyes, to make it possible. This I did." T.E. Lawrence


#8 of 13 OFFLINE   JParker

JParker

    Second Unit



  • 309 posts
  • Join Date: Nov 11 2011

Posted May 19 2012 - 06:09 AM

I neglected to hit "chiaroscuro," which brings us back to the concept of painting with light. And I don't have an immediate answer for you.  We can re-visit older films, especially those of Gordon Willis, like The Godfather, which are more of situation of taking away the light until you reach your goal. This is actually an interesting point of discussion, as it relates to newer films, and the abilities of various chips to capture light and dark. I'm going to have to reach out for answer. RAH

Mr. Harris, I can't thank you enough for your kind reply, it made my day! :) I hope others see this thread or you can elaborate on a special new post for the forum. My best wishes, James

#9 of 13 OFFLINE   JParker

JParker

    Second Unit



  • 309 posts
  • Join Date: Nov 11 2011

Posted May 19 2012 - 07:54 AM

I neglected to hit "chiaroscuro," which brings us back to the concept of painting with light. And I don't have an immediate answer for you.  We can re-visit older films, especially those of Gordon Willis, like The Godfather, which are more of situation of taking away the light until you reach your goal. This is actually an interesting point of discussion, as it relates to newer films, and the abilities of various chips to capture light and dark. I'm going to have to reach out for answer. RAH

One final thought (and I wish this thread was in the Cardiff Blu-ray post) -- I still think the older films have a beauty, no matter the method, that so many modern day films don't have. For example, even if the lighting is highly 'theatrical' Gone With The Wind and Rebecca and Queen Christina exemplify 'painting with light' in a fashion that recent films can't match (my opinion, naturally). Of course, you did mention The Godfather but that is so many years ago. But the CGI comic books obviously are an entirely different genre. Even Capra's Lady for a Day makes amazing use of light. http://www.hometheat...-blu-ray-review Well, anyone who has thoughts is welcome to contribute.

#10 of 13 OFFLINE   Robert Harris

Robert Harris

    Lead Actor



  • 7,553 posts
  • Join Date: Feb 08 1999
  • Real Name:Robert Harris

Posted May 20 2012 - 03:34 AM

Interesting where the mind goes...


Brought me to Freddie Young's work on Treasure Island (Disney), and Bobby Driscoll in the apple barrel.


RAH


"All men dream: but not equally. Those who dream by night in the dusty recesses of their minds wake in the day to find that it was vanity: but the dreamers of the day are dangerous men, for they may act their dreams with open eyes, to make it possible. This I did." T.E. Lawrence


#11 of 13 OFFLINE   Michel_Hafner

Michel_Hafner

    Supporting Actor



  • 783 posts
  • Join Date: Feb 28 2002

Posted May 21 2012 - 02:29 AM

Finally watched it. There is a scene where I saw what usually would be called a grading error, a grading inconsistency within a scene. Now, I know Fincher is a stickler for technical perfection. There are no grading errors in his films. So I wonder why he graded that way. Anybody know which scene I'm talking about?

#12 of 13 OFFLINE   Dortmunder

Dortmunder

    Auditioning



  • 8 posts
  • Join Date: Feb 14 2012

Posted May 21 2012 - 06:20 AM

Is it the lesbian club scene? If so, the 'noise' was apparently deliberate on the part of the film makers, according to a discussion over on reduser.net with contributions from Ian Vertovec, the digital colour grader at Lightiron. Personally, I never noticed anything outstandingly distracting, either on the 4K theatrical screenings I saw, or on my blu- ray.

#13 of 13 OFFLINE   Michel_Hafner

Michel_Hafner

    Supporting Actor



  • 783 posts
  • Join Date: Feb 28 2002

Posted May 22 2012 - 06:54 PM

No, grading issue, not noise. It's the scene where Craig goes to Skarsgard's house the first time and they drink something together. It's evening or night I think and lights are on in the room...





Forum Nav Content I Follow