Colorist Ian Vertovec’s Instagram Notes on His Work for David Fincher

Ian Vertovec & Michael Cioni
March 17, 2019
Ian Vertovec (Instagram)
Michael Cioni (Instagram)

Ian Vertovec is Supervising Colorist at Light Iron, which he co-founded, a Panavision company specialized in dailies, digital intermediate, archival, and data services for projects originated on file-based motion cameras.

View this post on Instagram

Reposted from @ianvertovec – The Girl with the Dragon Tattoo Dir: David Fincher DP: Jeff Cronenweth One of the best technical and creative accomplishments of our team's career was collaborating on this film. GDT included scenes shot on the first RED Epic camera (mixed in with lots of RED ONE MX) and was the first 5K RAW DI. We had to work with Quantel at the time to innovate a new way to do DI in a 5K extraction and display in 4K. It was our first time making 5K DSM non-scaled 2.40 and 1.78 masters so no blow-up was required for deliverables. It also means there is a 4K 4:3 version somewhere! The creative techniques and technology discovered on this film went into hundreds of films we did thereafter. Sometimes I travel the world and people ask, "How do you get RED cameras to look so good?" I tell them, "Don't worry so much about it. We all have access to the exact same technology to make these pictures look great. The difference is in who actually touches the tech." Colorist @ianvertovec is the key to these images and leads the Light Iron creative team to bring the best color regardless of the camera. Now you can follow his colorful journey on Instagram. Follow @ianvertovec #thegirlwiththedragontattoo #davidfincher #rooneymara #danielcraig – #regrann #regrann  #redcamera #redepic #redcamerausers #lightiron #lightironcolor #digitalintermediate #colorcorrection #cinematographer #cinematography #resolution

A post shared by Michael Cioni (@michaelcioni) on

Advertisements

Pressure and Obsession in the Films of David Fincher

Piers McCarthy
February 2012 / November 15, 2018

This dissertation aims to show the recurring themes of pressure and obsession in the work of film director David Fincher. Looking specifically at Seven (David Fincher, New Line Cinema, 1995), Zodiac (David Fincher, Paramount Pictures, 2007) and The Social Network (David Fincher, Columbia Pictures, 2010), I will show the gradual change in style and subject matter while still highlighting the resonance of the two themes under analysis. Furthermore, it will be shown how obsession and pressure link to Fincher’s working method. I will be examining critical, journalistic and academic writings to assess the themes and Fincher’s directorial position. Whereas Seven has had a great deal written about it, Zodiac and The Social Network are more recent films and thus there is less literature on them. For this reason, study on both films should garner more original analysis.

The themes of pressure and obsession differ slightly in all three films, however, there is an overriding sense in each film that the workplace and environment has a pressurizing effect on the characters. What is more, pressure can at times define the notion of obsession. Obsession is mostly shown as a mutation of characters’ personal drive, or an extension of their duties for work. The two themes can at times separate themselves in terms of aesthetic and narrative presentation yet they are mainly one and the same; at times they can even be analyzed in the context of Fincher’s filmmaking practice.

Chapter one gives an overview of contemporary Hollywood, the role of the director, Fincher in relation to both of these, the two themes under analysis and deliberations on auteurist theory – this constitutes the literature review. The second chapter examines the impetus of investigative obsession, along with the presentation of morbidity and tension in Seven. Chapter three looks at the similarity in obsessive personalities along with suspense and drama in Zodiac. Chapter four focuses on The Social Network and obsession effecting status quo. The conclusion will draw on the comparisons and contrasts from chapters two to four. It will also give an overall account of how we may regard Fincher in contemporary Hollywood and in respect to auteur theory.

Read the full dissertation

David Fincher in Conversation with Mark Romanek

Illustrations by Tony Millionaire

“The screenwriter has given you the greatest gift, which is he’s given you something that inspires somebody to make the right mistake.”

Things David Fincher enjoys about filmmaking:

Reading a good script
Casting
Rehearsal
Pre-production meetings

Things he hates about filmmaking:

Every single additional thing about it

Mark Romanek
October 1, 2010
The Believer

David Fincher’s film career began at the age of nineteen as an assistant cameraman at Industrial Light & Magic. In 1983, he relocated to Los Angeles to direct TV commercials and music videos. His commercial clients include Adidas, AT&T, Coca-Cola, Budweiser, Pepsi, and Nike. David has directed music videos for various artists including Madonna, The Rolling Stones, Michael Jackson, and A Perfect Circle. In 1987 he cofounded Propaganda Films with Dominic Sena, Greg Gold, and Nigel Dick, and has since become a motion-picture director with Panic Room, Fight Club, The Game, Se7en, Zodiac, and The Curious Case of Benjamin Button among his credits. His next film, The Social Network, is slated to be released this month.

Mark Romanek was born in Chicago. Romanek has directed numerous award-winning music videos for many artists including Fiona Apple, Beck, David Bowie, Johnny Cash, Coldplay, R.E.M., and Sonic Youth. Romanek wrote and directed the feature film One Hour Photo starring Robin Williams. The film had its world premiere at the 2002 Sundance Film Festival, and received the Prix du Public, Prix Premiere, and the Prix du Jury at the 2002 Deauville American Film Festival. His new film, Never Let Me Go, will be released this month.

Fincher and Romanek first met in 1990, when Romanek was signed to Satellite Films. Satellite was a “boutique” division of Propaganda Films, where Fincher was a director, and a music-video legend. The two directors spoke by phone for The Believer in early August 2010.

Read the full conversation

2010-10-01. The Believer - An Interview with David Fincher 01a

Thanks to Joe Frady

The Best Movie Trailer Ever Came Out Eight Years Ago. It’s Still The Best

I wish I was special.

Adam Epstein
July 19, 2018
Quartzy

In 2009, shortly after The Social Network—then known only as “the Facebook movie”—was announced, Mashable ran a story with the headline, “No, You Cannot Turn Facebook into a (Decent) Movie.” Even after it was reported that the brilliant filmmaker David Fincher would direct Aaron Sorkin’s script about Mark Zuckerberg and the early days of Facebook, the Huffington Post published a story proclaiming “The Facebook Movie Puts the zZzZ’s in Zuckerberg.” Some months later, after the film’s cryptic, one-minute teaser trailer hit the internet, the Atlantic remained skeptical, predicting that The Social Network would be “deadly dull.”

People said the film sounded “like parody,” that it looked like “a train wreck,” that the whole thing was “asinine” and made them “weep for humanity.”

Then, eight years ago this week, that all changed. On July 16, 2010, Sony Pictures released the first full-length theatrical trailer for The Social Network, made by the artsy trailer house Mark Woollen & Associates, upending the narrative surrounding the film almost overnight:

Read the full article

 

Mark Woollen & Associates - Logo

Mark Woollen & Associates

The Social Network

The Girl With The Dragon Tattoo

Gone Girl

Frank W Ockenfels 3: David Bowie, Light, & Portrait Photography

The Hollywood Reporter (YouTube)
June 22, 2018

A craftsman with a camera and an artist with a vision. Frank W Ockenfels 3 takes us through his detailed story of his close relationship with the late David Bowie. A master of light and one of the industry’s most prolific photographers, this is ‘Magic Hour.’

Thanks to John Sant

Click for a full screen view:

Frank Ockenfels 3

Michael Cioni: The Rhythm of Resolution

LumaForge (YouTube)
May 3, 2018

Over the last few years, 8K has become accepted as an acquisition format for 2K & 4K delivery. Michael Cioni, of Panavision & Light Iron, believes that it is time to start pushing 8K as a distribution format. Listen as he challenges common misconceptions about the validity of 8K exhibition.

Cioni uses Moore’s Law to explore the idea that the resolution of our capture and delivery of video will continue to grow far into the future. In the early years of Light Iron, Michael and his team faced many challenges in moving from a 2K to 4K digital intermediate for their customers. But they overcame those challenges and are now working toward supporting 8K distribution.

Check the comments from the future