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 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 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.”
