[Above image\u00a0from Red.com<\/a>]<\/em><\/p>\n An upcoming webinar by our friends at ProVideoCoalition<\/a> will address one of the big challenges currently facing video pros, how high resolution video effects their post-production workflows. How should this footage (and large file sizes!) be managed in post? How can you ensure seamless editing of 4K and 6K video files? In what format\/codec\/frame size\u00a0do you deliver the final video files?<\/p>\n The free webinar from PVC will be on November 17th at 11 am PST<\/a> and hosted by post-production engineer\u00a0Jeff Brue<\/a>, <\/strong>who recently worked as a post engineer on David Fincher’s\u00a0Gone Girl.<\/em><\/p>\n As many people now know,\u00a0David Fincher<\/a><\/strong> has been a proponent of the use of advancing technology in film for many years now. His advocacy for digital film through the use of RED cameras<\/strong><\/a> is well documented. Continuing on this pursuant path of new technology, Fincher decided to have his newest film\u00a0Gone Girl<\/em><\/strong><\/a>\u00a0cut completely on Adobe Premiere CC<\/strong><\/a>.<\/p>\n Fincher charged longtime collaborators Academy Award winning editor Kirk Baxter<\/a><\/strong> and assistant editor Tyler Nelson<\/strong><\/a> with editing\u00a0Gone Girl\u00a0<\/em>in Premiere Pro CC. Kirk and Tyler quickly began to work closely with Post-Production Supervisor\u00a0Peter Mavromates<\/strong><\/a>\u00a0and Post-Production Engineer Jeff Brue, the main speaker in the PVC Webinar.<\/p>\n To test this type of workflow Fincher and the post-production crew above ran a test run\u00a0for a Calvin Klein<\/strong><\/a>\u00a0ad in order to fully understand the workflow. You can see that ad below.<\/p>\n