Filmmaker Magazine profiles Soderbergh’s RED Post-Production Challenges
Director Steven Soderbergh shot two Che Guevara films back to back on the RED camera last year. Both are scheduled for release this winter, just in time for Oscar season. Filmmaker Magazine caught up with Soderbergh in post-production to learn how he handled RED’s challenges in editorial and finishing. Here’s an excerpt:
“It‘s a dangerous time,” jokes Christian Zak, the vice president of Independent Feature Films at Technicolor. “Everyone is talking about the price of the camera, but they‘re not looking into what goes into making a professional finish. It‘s like when El Mariachi was made for $8,000. Well, yes, but how much had to be spent to properly finish it?”
After Soderbergh shot Che on the first two manufactured Red One cameras on location in Spain, Puerto Rico and Mexico, he worked closely with Zak to set up a postproduction workflow across Soderbergh‘s New York City office and 10 Technicolor facilities around the world. Zak estimates that the total footage for both films came to about 120 hours, or about 10 terabytes of data, which had to be backed up and moved around physically on hard drives and digital tapes because the files were too large to transfer over a network. “When you start working in this type of workflow, you really need an experienced data manager on set and as part of the postproduction process,” Zak said.
More after the jump:
http://www.filmmakermagazine.com/fall2008/redone.php
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By Noah Kadner
