{"id":578818,"date":"2023-06-16T07:23:33","date_gmt":"2023-06-16T04:23:33","guid":{"rendered":"https:\/\/en.buradabiliyorum.com\/david-fincher-opens-up-about-challenges-remastering-seven-in-4k\/"},"modified":"2023-06-16T07:23:33","modified_gmt":"2023-06-16T04:23:33","slug":"david-fincher-opens-up-about-challenges-remastering-seven-in-4k","status":"publish","type":"post","link":"https:\/\/buradabiliyorum.com\/en\/david-fincher-opens-up-about-challenges-remastering-seven-in-4k\/","title":{"rendered":"#David Fincher Opens Up About Challenges Remastering \u2018Seven\u2019 in 4K"},"content":{"rendered":"
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\n David Fincher has confirmed what many Internet sleuths have suspected in recent months, that he is in fact remastering Seven<\/em> in 4K, which he said has required him to make some background tweaks.<\/p>\n

\n The director made the revelation during a Tribeca Festival talk with Steven Soderbergh Thursday night, when in response to an audience question about whether he rewatches his old work (\u201cI don\u2019t; I\u2019m not brave.\u201d), he explained how he\u2019s had to make adjustments while remastering Seven<\/em>.<\/p>\n

\n \u201cWe\u2019re doing Seven<\/em> right now. And we\u2019re going back and doing it in 4K from the original negative and we overscan it, over sample it, doing all of the due diligence and there\u2019s a lot there\u2019s a lot of shit that needs to be fixed,\u201d Fincher said. \u201cBecause there\u2019s a lot of stuff that we now can add because high dynamic range. You know, streaming media<\/a> is a very different thing than 35 mm motion picture negative in terms of what it can actually retain. So there are, you know, a lot of blown-out windows that we have to kind of go back and ghost in a little bit of cityscape out there.\u201d<\/p>\n

\n He indicated the issues largely aren\u2019t noticeable but \u201con a 100-inch screen, you\u2019ll look at it and go, \u2018What the fuck, they only had money for white cardboard out there?\u2019 So that\u2019s the kind of stuff on print stock, it just gets blown out of being there. And now you\u2019re looking at it, going \u2018I can see, you know, 500 nits of what the fuck.’\u201d<\/p>\n

\n But he clarified, he\u2019s \u201cfundamentally against the idea of changing what [the film] is.\u201d<\/p>\n

\n \u201cYou can fix, you know, three percent, five percent. If something\u2019s egregious, it needs to be addressed,\u201d he said. \u201cBut, you know, I\u2019m not gonna take all the guns out of people\u2019s hands and replace them with flashlights.\u201d<\/p>\n

\n Steven Spielberg famously replaced guns with walkie talkies in the 20th century anniversary version of ET<\/em>, which Spielberg recently revealed he regrets.<\/p>\n

\n \u201cThat was a mistake,\u201d Spielberg said at the Time 100 summit this spring of his change. \u201cI never should have done that. E.T. is a product of its era. No film should be revised based on the lenses we now are, either voluntarily, or being forced to peer through \u2026 I should have never messed with the archives of my own work, and I don\u2019t recommend anyone do that.\u201d<\/p>\n

\n In Fincher\u2019s defense, Soderbergh suggested that his friend and fellow director is slightly more detail-oriented than others.<\/p>\n

\n \u201cDavid sees things that not a lot of people see,\u201d he said, recalling how Fincher invited him to a session while he was working on a film.<\/p>\n

\n \u201cDavid\u2019s got a laser pointer and it\u2019s frozen on the shot and you\u2019re like, \u2018I want that part of the wall a quarter of a stock darker,’\u201d Soderbergh recalled. \u201cI walked out and laid down on a couch in the lobby because of what torture it is to see that.\u201d<\/p>\n<\/p><\/div>\n