Jeff Cronenweth shot Gone Girl digitally on the RED Epic for David Fincher, favouring a cold, desaturated palette of overcast Missouri grays, sickly fluorescent interiors and precise, low-key control. Skin tones are pulled toward pallor, shadows lean faintly teal, and the whole film carries a flat, clinical sheen that mirrors its unease.
Recipes
Missouri Overcast
Flat, gray suburban daylight with no warmth
Film SimulationEterna/Cinema
GrainWeak/Small
Color ChromeOff
CC FX BlueWeak
White BalanceDaylight
WB ShiftR-1 / B+2
Dynamic RangeDR200
Highlight+0
Shadow+0
Color-2
Sharpness-1
Noise Reduction-1
Clarity+0
ISOISO 400
Media Fluorescent
Cold, TV-lit interiors during the media circus
Film SimulationPro Neg Std
GrainOff
Color ChromeOff
CC FX BlueWeak
White BalanceFluorescent 1
WB ShiftR-1 / B+3
Dynamic RangeDR200
Highlight-1
Shadow+1
Color-3
Sharpness+0
Noise Reduction-2
Clarity-1
ISOISO 800
Bloodlight Climax
The stark, bright white bedroom broken by a single red accent
Film SimulationClassic Neg
GrainWeak/Small
Color ChromeWeak
CC FX BlueWeak
White BalanceShade
WB ShiftR+0 / B+1
Dynamic RangeDR400
Highlight-2
Shadow+2
Color-1
Sharpness+1
Noise Reduction-2
Clarity+1
ISOISO 400–800
Shoot this look
These recipes run on Fujifilm's film-simulation engine — any current X-series body will do. A pairing to start from: