Keeping as much of the filmmaking process in-house as possible was the philosophy adopted by David Fincher and is the reason why visual effects, editorial and digital intermediate have been integrated into an internal pipeline that allows for a seamless flow of digital files between departments.
"We do our DI and some visual effects compositing in-house," explains Peter Mavromates, post producer. "If the imagery doesn't look quite right to our visual effects editor Casey Curtiss, he'll go and consult our colourist and they'll move the files over into the Baselight and take a look at that. There's a lot of hands-on all the way around."
900 visual effects shots were created for The Killer by Ollin VFX, Savage VFX, Artemple-Hollywood and Wylie Co. over what was initially meant to be a period of eight months. "The reason why I'm being vague there is we were delivering for December 2022/ January 2023, but then Netflix decided to release The Killer in November of 2023, and David is someone who you have to peel the project out of his hands because he wants to keep improving it," explains Mavromates. "We ended up working for many more months because he had the time. The real satisfaction for all of us who work with him repeatedly is that when he works on stuff, it gets better. It just does."
This story is from the {{IssueName}} edition of {{MagazineName}}.
Start your 7-day Magzter GOLD free trial to access thousands of curated premium stories, and 9,000+ magazines and newspapers.
Already a subscriber ? Sign In
This story is from the {{IssueName}} edition of {{MagazineName}}.
Start your 7-day Magzter GOLD free trial to access thousands of curated premium stories, and 9,000+ magazines and newspapers.
Already a subscriber? Sign In
Nvidia GeForce RTX 4080 Super Founders Edition
On the surface, the GeForce RTX 4080 Super is barely any different from the vanilla GeForce RTX 4080 that was launched in 2022.
MCU VFX moments
Pros choose their favourite CG shots from the Marvel Cinematic Universe
Nosing around on Fallout
We sniff out the story of how FutureWorks brought The Ghoul to life with the creation of his iconic noseless face
DISCOVER RED GIANT GEO'S HANDY TOOLS
Heather Sterland introduces one of the newest additions to Maxon's suite of Red Giant VFX plugins with an atmospheric lunar creation
BUILD AND ANIMATE A FUN-FILLED ROBOT
Expand your horizons with Julio Benavides, who reveals his workflow for creating a charming hard-surface character
DESIGN STRIKING SCULPTS AT SPEED
Learn how to build 3D characters that balance visual quality and efficient workflow with pro advice from Oh Holy Mary
CREATE A CANYON ENVIRONMENT
Build a stunning desert setting with an expert walkthrough from Romain Eboli, who uses high-quality Quixel assets
TURN A 2D CONCEPT INTO AN INCREDIBLE 3D-PRINTED FIGURE
Concept artist Emily Chapman shares her process for sculpting, printing and painting an outstanding model to put on display
Goodbye SAIGON
Trevor Hogg gets held captive by multiple versions of Robert Downey Jr.while uncovering the visual effects of HBO's spy series The Sympathizer
IMPRESSIONISTIC REALISM
Trevor Hogg learns how the artisan aesthetic came to be for The Wild Robot