Reviews on Dark Knight clear as day

Monday, 14 July 2008

The latest issue of American Cinematographer magazine has an extensive article on the use of cineSync in post production on The Dark Knight.

From the article:

Since its introduction, cineSync has been put through the paces on dozens of features, including Blood Diamond and Iron Man. After working with the program on Superman Returns, visual effects producer Joyce Cox recommended it to her collaborator on The Dark Knight, visual effects supervisor Nick Davis. "My last couple of shows had all been in London, so there was no real need for it," says Davis.

For The Dark Knight though, post production spanned half the globe; visual effects work was divvied up among Paris facility Buf and London facilities Framestore CFC, Double Negative and Cinesite and (director) Christopher Nolan remained in Los Angeles for editing. Davis continues, "[Based on] recommendations of others on [The Dark Knight] who had used it, cineSync seemed to be the perfect tool. I'm actually not sure we could have done the post without it."

Visual effects work on The Dark Knight began in January 2007. As Davis circumnavigated the world with the production, he used cineSync to stay in touch with his collaborators. "I used [cineSync] from Hong Kong, Chicago, LA, London and Paris", he says. "Wherever we were, I was able to stay in contact with the director and the vendors. It was my main communication with Buf. It really makes the world a much smaller place."

The article goes on to talk about how cineSync was used on the film, as well as subsequent developments in cineSync (including cineSync Pro) that are of substantial benefit to films currently commencing production and post production.

You can find the rest of the article on pages 68-70 of the July issue of American Cinematographer magazine. A digital preview copy is available on their website