Platinum Club

Cormac Donnelly
May 21, 2020

A multi-screen meditation on puttering featuring Platinum Blonde (1931, Frank R. Capra) and Fight Club (1999, David Fincher). Made for The Video Essay Podcast.

Creating Mindhunter’s Calculated Sound

Director David Fincher’s Mindhunter series on Netflix is as calculated as the serial killers it fictionalizes. Fincher locks down all the details on a nanoscopic level, including the sound. Here, Skywalker Sound supervising sound editor Jeremy Molod talks about his collaboration with Fincher and how they deliver a finely-crafted show.

Jennifer Walden
May 20, 2020
A Sound Effect

Having spent so much time as a Foley editor in his early career, award-winning supervising sound editor Jeremy Molod, at Skywalker Sound, appreciates the value of that performance art, as does his long-time collaborator director David Fincher. So much so, that Fincher even requests samples of potential footstep sounds for his characters before the Foley is shot. With all the details that a director has to attend to, it’s rare that one allocates so much attention to sound — even down to the Foley footsteps.

In Season 2, Ep. 2 of Netflix’s Mindhunter series — which is up for Emmy consideration for sound editing and mixing — Fincher and Molod used Foley and sound design to communicate the nervousness and discomfort of BTK-survivor Kevin Bright (Andrew Yackel) as he recounts details of the attack to detectives Tench (Holt McCallany) and Drowatzky (Jeb Kreager). Kevin is in the backseat of Drowatzky’s truck, and because of the camera angle and depth-of-field, he’s not clearly seen by the audience. His movements are implied through Foley, and those increasingly agitated movements reflect Kevin’s emotional state.

Here, Molod discusses the sound team’s work on Mindhunter, focusing on several key scenes in Season 2, Ep. 2, and their use of Foley and loop group as a storytelling tool that adds unique detail to the soundtrack.

How has your experience of working on Mindhunter Season 1 impacted your approach to Season 2? Any lessons learned on that first season that sparked ideas for this new season?

Jeremy Molod (JM): Once we got through the first season, our crew had a rhythm down. That made things a lot easier for Season 2 just in terms of our workflow and how we do it.

We didn’t take a new approach to the second season. We treated Season 1 and Season 2 as one long, huge movie. We continued exactly what we were doing before. David [Fincher] would give us his spotting notes and we’d work on it and then he would give us notes on what he liked and didn’t like. We just proceeded that way.

Since you’ve worked with David Fincher before, did he just give you general notes and let you do your thing?

JM: No. He’s very hands-on, more so than any other director I’ve worked with. He cares about every little aspect. Before we start working on it, he’ll tell us what he has in mind sound-wise, but every single day he is chiming in with more information, more detailed notes, and more ideas of things he’d like us to try. It’s a back-and-forth all the time. I send things to David almost every day for him to listen to and make notes on. It’s a very collaborative effort.

Often directors are so busy handling everything else that they don’t have time for sound collaboration. It’s good to hear he’s very involved in that…

JM: Absolutely. It’s a rare thing for a director to be this involved in sound, but that’s one of the reasons his movies are so good. He cares about every little aspect of it.

Read the full interview

Through The Frame: Re-Animating Camera Moves For Live Action

Jesse Korosi
May 7, 2020
Through The Frame (HPA)

Learn how the new movement toward reanimating camera movement, stabilizing, and reframing shots in post is taking shape! Chad Peter and Tai Logsdon have been on the forefront of this change and will discuss how it all began and how it’s being done today, with lots of details and examples from Mind Hunter, Bird Man, Homecoming & Mr. Robot.

Writer / Director (DGA) / VFX Supervisor originally from Colorado – Chad Peter has worked as VFX supervisor & additional director (inserts) on the final season of “Mr. Robot”, as well as VFX Super on Amazon’s “Homecoming” season 1.  Previously, Chad had served as an in-house VFX on “Mindhunter” s1 & s2, “House of Cards” s2 thru s4, “Gone Girl” and more.

Tai Logsdon grew up in the Central Valley of California, graduated from Chapman University in 2006, and has worked as in-House VFX Manager for shows such as Amazon’s “Homecoming” and USA’s “Mr.Robot” (the final season).

Listen to the podcast

Master Class with David Fincher / Master Class de David Fincher

Carlos Reviriego
September 15, 2014 (May 8, 2020)
TAI Escuela Universitaria de Artes

Interview with David Fincher at the TAI University School of Arts (Madrid), hosted by Carlos Reviriego.

In English, with Spanish subtitles.

Questions:

0:00:33 – What did the book ‘Gone Girl‘ is based on had that made you want to film a movie about it?
0:02:33 – Talk about your first years in the movie industry.
0:06:38 – You once said ‘No one hates Alien3 more than me’. Can you talk about it?
0:09:31 – David Lynch was here last year, and he said that the most important advice was to always fight for the final cut of your film. Do you think the same?
0:15:03 – Some critics think that ‘Fight Club‘ and movies on your filmography celebrate violence and anarchy. What do you have to say about it?
0:18:39 – Do you see yourself as a perfectionist?
0:22:17 – What’s more important, talent or hard work?
0:25:40 – What changes with digital cinema?
0:28:09 – How do you work with the Cinematographer and the Art Department?
0:34:31 – Can you talk about your work for TV and House of Cards?
0:36:37 – How do you feel about Amy’s character in Gone Girl?
0:37:53 – Do you get involved in the writing process?
0:39:08 – Why do you tend to use green and yellow colours in your cinema?
0:41:12 – Do you see a certain similarity between Brad Pitt’s character in ‘Twelve Monkeys‘ and ‘Seven‘?
0:43:02 – What do you look for in an actor?
0:48:38 – Is it more complicated to do fiction or documentary?


Encuentro con David Fincher en la Escuela Universitaria de Artes TAI (Madrid), conducido por Carlos Reviriego.

En inglés, con subtítulos en español.

Preguntas:

0:00:33 – ¿Qué te atrajo de la obra literaria en la que se inspira ‘Gone Girl‘?
0:02:33 – Háblanos de tus comienzos
0:06:38 – Una vez dijiste que nadie odió Alien3 más que tu. ¿Puedes hablar sobre ello?
0:09:31 – David Lynch estuvo aquí el año pasado y dijo que lo más importante era tener el corte final de la película. ¿Opinas lo mismo?
0:15:03 – Algunos críticos opinan que ‘Fight Club‘ y otras de tus películas ensalzan la violencia y el caos. ¿Qué tienes que decir al respecto?
0:18:39 – ¿Te consideras un perfeccionista?
0:22:17 – ¿Qué es más importante, el talento o el trabajo duro?
0:25:40 – ¿Qué añade la conversión al digital del cine a tu obra?
0:28:09 – Tu estética tiene una firma o un sello personal. ¿Cómo trabajas con el Director de Fotografía?
0:34:31 – ¿Puedes hablar sobre tu participación en televisión y en House of Cards?
0:36:37 – ¿Qué piensas del personaje de Amy en Gone Girl?
0:37:53 – ¿Cómo te involucras en el proceso de escritura del guión?
0:39:08 – ¿Por qué tu cine tiene cierta tendencia a usar verdes y amarillos?
0:41:12 – ¿Crees que hay cierta similitud entre la forma de actuar del personaje de Brad Pitt en ‘Twelve Monkeys‘ y ‘Seven‘, que fueron rodadas en la misma época?
0:43:02 – ¿Qué buscas de un actor a la hora de trabajar con él?
0:48:38 – ¿Es más complicado rodar ficción o documental?

Magaly Briand / TAI (2014)

David Fincher’s Mindhunter Cinematography with Erik Messerschmidt ASC

Ben Consoli
May 5, 2020
Go Creative Show

The cinematographer of David Fincher’s hit Netflix series, Mindhunter, Erik Messerschmidt ASC takes us behind the scenes the show.

Erik and Go Creative Show host, Ben Consoli, discuss how he created the distinct look of Mindhunter, why David Fincher shoots so many takes, mastering good camera movement, how Erik preps for shoots, and more!

What you will learn in this episode:

  • Importance of film school and on-set experience (02:22)
  • What Erik is watching during COVID-19 (12:08)
  • Visual approach to MINDHUNTER (15:48)
  • Mastering good camera movement (20:08)
  • Camera and lens package (22:22)
  • Why David Fincher shoots so many takes (27:28)
  • Compositing multiple takes together (42:05)
  • Approach to lighting (44:57)
  • Shot diagrams and storyboarding (54:18)
  • Lighting the prison scenes (01:01:59)
  • Exposing for dark cinematography (01:04:25)
  • Color theory and how it affects the audience (01:05:21)

Listen to the audio or video podcast

Show Links:

The Go Creative Show is supported by:

MZed – Education for Creatives

“I Had to Figure Out the True Latitude, Speed and Color Science”

DP Jeff Cronenweth On The Social Network Ten Years Later and the Mysterium X Sensor.

Aaron Hunt
May 4, 2020
Filmmaker

Film stills by Merrick Morton

On October 1, The Social Network turns ten. The RED Mysterium X sensor (also turning ten) that rendered the film is now outmoded, but The Social Network thrives due to, not in spite of, the marks of its time. The limited latitude of the once cutting-edge camera sensor pushed David Fincher and DP Jeff Cronenweth—who also shot Fincher’s Fight Club, The Girl with The Dragon Tattoo and Gone Girl—into the darker bends of The Social Network’s imitation Harvard dorms. The camera struggled with highlights, so they avoided hot windows and sunny exteriors. It also strained to digest warm tones, so they chose a cooler palette that was easier for the RED to chew on. The sensor’s limitations had implicit limitations with the story of Facebook’s origin, the first of screenwriter Aaron Sorkin’s two tech mogul reprimands (Fincher’s Zuckerberg was follow by Danny Boyle’s Steve Jobs)—individuals he believes pioneered our doom out of spite, envy, inceldom.

When The Social Network initially released, an anecdote about Fincher hiring a mime to distract Harvard campus security was often iterated in the press. Fincher and Cronenweth stitched three shots captured by three REDs on a roof across the street and did a “pan and scan” in post to get a move they couldn’t have otherwise. But they needed light on some of the dark arches, so Fincher hired a mime to push a battery cart full of lights behind them, the impetus being that “by the time [security] got him out of there we would have already accomplished our shot.” Fincher adopted digital in its nascent stages to limit the compromises caused by the erratic nature of the film set. What remained to be compromised on he’d have more ways of fixing in post on digital than on film.


Filmmaker: What have you been watching?

Cronenweth: Eh, I don’t know. Mostly movies. I tried to do the Ozark series, which I like, but it starts to get redundant: same bad guys doing the same things. The only problem I find is that the first week we watched maybe 50 movies, so now we can’t separate the good scenes and shots from the others because we’ve watched so many in a row. That can be a handicap. I’m 58. This is the longest I’ve had off since I graduated from college. So, there are a lot of things I’ve been putting off for twenty years that have been good to get done with.

Filmmaker: Have you rewatched The Social Network recently?

Cronenweth: No, I tend not to. You see them so many times when you’re making them, in the edit, the color correct and the screenings. I would like to, though. It’s such a cleverly written script and Fincher did such a great job at bringing Aaron’s dialogue across. Everytime I watch it, regardless of how tied into it I was, it always amuses me how quickly it feels like it went by. You never have a chance to get off the rollercoaster, which is one of [Fincher’s] mottos. But by the end you go “Really? That’s the whole movie?” It feels like it just started.

Filmmaker: You guys were the first feature film to use RED’s Mysterium X sensor.

Cronenweth: It was my first experience shooting something long form with a digital camera. I had shot music videos and commercials on an array of different formats and cameras. Obviously Fincher had done Zodiac and Benjamin Button digitally. I can’t remember what they shot that on?

Filmmaker: I think they were both shot on the Viper. [Benjamin was a combination of the Viper, Sony F23 and some 35mm on the Arriflex 435]

Read the full interview

Follow Jeff Cronenweth, ASC Archives on Twitter

Beverly Wood, former VP of technical services at Deluxe, and the CCE process on Seven

Women in Film, Legacy Series: Beverly Wood Interview

Linda Feferman
April 23, 2013

Watch the 26:17 min. interview and documentary on vimeo

Team Deakins: Bev Wood, Journey from Film to Digital

Roger Deakins, James Deakins & Matt Wyman
May 3, 2020
Team Deakins

We speak with Beverly Wood, former Executive VP at Deluxe and Managing Director at eFilm. We discuss the transition in Hollywood from Film to Digital with one of the industries foremost experts on the science behind it all. We discuss how film emulsion actually works, color science, her work with Roger and James, and films like SkyFall, O Brother, Where Art Thou and more.

She’s been with us through our journey from film to digital and is a great source of information in general!

Listen to the podcast:

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Soup du Jour

AC demystifies the special processing techniques offered by motion picture laboratories to enhance and manipulate imagery.

Christopher Probst
November 1998
American Cinematographer

Although mainstream audiences may not be consciously aware of the use of special processes when they watch a film in a theater, they certainly felt the effect while watching David Fincher‘s horrific thriller Seven (AC Oct. ’95), which was photographed by Darius Khondji. A number of the film’s release prints were treated with Deluxe‘s Color Contrast Enhancement (CCE) process to heighten the film’s blacks and add a palpable texture and tonality.

Read the full article

Art of the Shot: Jeff Cronenweth, ASC on Tales from the Loop & How Story Drives the Visuals

Derek Stettler
April 27, 2020
Art of the Shot

Welcome to the Art of the Shot podcast! Join writer and filmmaker Derek Stettler for conversations with the artists behind the camera on strikingly-shot films, series, music videos and commercials. Discover how they made their careers happen, hear about their creative process, and learn how they make the shots that make us say: wait, how did they do that?

For the third episode, Derek speaks with none other than Jeff Cronenweth, ASC!

Jeff is the two-time Oscar-nominated cinematographer behind many of David Fincher’s films, including The Social Network, The Girl with the Dragon Tattoo, and their first film together–and Jeff’s first feature film–Fight Club.

(And if you’re worried, no, they don’t talk about Fight Club… much.)

Jeff has also shot numerous commercials and music videos for some of the biggest artists, including Madonna, David Bowie, Shakira, Taylor Swift and Katy Perry.

And this month marked the release of Jeff’s first foray into television, with the pilot to the Amazon Prime original series, Tales from the Loop: a sci-fi anthology adapted from the paintings of Swedish artist Simon Stålenhag.

What you may not know is that Jeff Cronenweth is the son of legendary cinematographer Jordan Cronenweth, the eye behind the era-defining look of Blade Runner. Enjoy this in-depth conversation about everything from how Jeff forged his own path while following in his father’s footsteps, and his approach to lighting based on story, to working with David Fincher, his work on Tales from the Loop (including how he achieved a never-before-seen lighting effect), and his trick for making sure eye lights look more natural.

Note, due to the COVID-19 pandemic, this conversation was recorded remotely, but all efforts were made to ensure quality audio.

The Art of the Shot podcast is brought to you by Evidence Cameras, an outstanding rental house in Echo Park specializing in high-end digital cinema camera packages, lenses, support, and accessories.

If you like what you hear, please subscribe to be notified of future episodes, and share this podcast with others to help grow the show!

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Tales from the Loop trailer audio copyright Amazon.com, Inc. Used with permission courtesy of Amazon Studios.

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The Game. Limited Edition Blu-ray from Arrow Academy (UK)

Arrow Academy

Made in between Seven and Fight Club, David Fincher’s edge-of-your-seat thriller The Game remains arguably his most underappreciated film, bolstered by an exceptional star performance by Michael Douglas.

Despite his large mansion and intimidating bank balance, multimillionaire Nicholas Van Orton is haunted by the childhood memory of his father’s suicide. On the day he reaches the same age his father was when he died, Nicholas receives an unconventional birthday present from his estranged brother Conrad (Sean Penn): an invitation to play a mysterious “game”, the aim and rules of which are kept secret. As the game unfolds, Nicholas suddenly finds himself in a fight for his life, assisted by the enigmatic Christine (Deborah Kara UngerCrash) but unsure of where to turn and who to trust.

Presented in a director-approved remaster available for the first time in the UK, the twisty mysteries of Fincher’s pulse-pounding paranoiac puzzle are explored in an exciting array of new and archive bonus features.

TWO-DISC LIMITED DELUXE EDITION CONTENTS

Limited to only 3,000 units

Deluxe packaging including a 200-page hardback book housed in a rigid slipcase, illustrated with newly commissioned artwork by Corey Brickley

200-page book exclusive to this edition includes a newly-commissioned full-length monograph by Bilge Ebiri, and selected archive materials, including an American Cinematographer article from 1997, a 2004 interview with Harris Savides by Alexander Ballinger, and the chapter on the film from Dark Eye: The Films of David Fincher by James Swallow

Arrow Academy Blu-ray including new bonus features and UK home video premiere of director-approved 2K restoration

Universal Special Edition DVD featuring archive extras with cast and crew

DISC ONE – BLU-RAY

2K restoration from the original negative by The Criterion Collection supervised and approved by director David Fincher and cinematographer Harris Savides

High Definition Blu-ray™ (1080p) presentation

Original 5.1 & 2.0 DTS-HD Master Audio

Isolated Music & Effects track

Optional English subtitles for the deaf and hard-of-hearing

New audio commentary by critic and programmer Nick Pinkerton

Fool’s Week: Developing The Game, a newly filmed interview with co-writer John Brancato

Men On The Chessboard: The Hidden Pleasures of The Game, a new visual essay by critic Neil Young

Archive promotional interview with star Michael Douglas from 1997

Alternatively-framed 4:3 version prepared for home video (SD only), with new introduction discussing Fincher’s use of the Super 35 shooting format

Theatrical trailer

Teaser trailer

Image gallery

DISC TWO – DVD

Standard definition DVD (PAL) presentation

5.1 Dolby Digital audio

Optional English subtitles for the deaf and hard of hearing

Audio commentary with director David Fincher, actor Michael Douglas, screenwriters John Brancato and Michael Ferris, director of photography Harris Savides, production designer Jeffrey Beecroft and visual effects supervisor Kevin Haug

Behind The Scenes featurettes – Dog Chase, The Taxi, Christine’s House, The Fall (with optional commentary by Fincher, Douglas, Savides, Beecroft and Haug)

On Location featurettes – Exterior Parking Lot: Blue Screen Shot, Exterior Fioli Mansion: Father’s Death, Interior CRS Lobby and Offices, Interior Fioli Mansion: Vandalism, Exterior Mexican Cemetary (with optional commentary by Fincher, Savides, Beecroft and Haug)

Theatrical trailer (with optional commentary by Fincher)

Teaser trailer

Teaser trailer CGI test footage (with optional commentary by designer/animator Richard Baily)

Alternate ending

Production design and storyboard galleries

Pre-order via Arrow with a special pre-order price until May 29

Pre-order via Amazon

Pre-order via Zavvi