Audio – Page 14 – The Fincher Analyst

Colorist Podcast: Ian Vertovec, from Light Iron

Episode 20

January 16, 2018
Colorist Podcast

This episode is sponsored by Colorist Society International and Mixing Light.

On this episode of the colorist podcast, I talk with Ian Vertovec, Co-Founder, and Senior Colorist at Light Iron.

Ian has colored major films “The Social Network,” “The Girl with the Dragon Tattoo,” and “Gone Girl.” And more recently, he has colored the TV shows “Baskets” for FX and “Glow” on Netflix.

Originally from Chicago, Ian focused on photography, then moved on to digital compositing. He later co-founded two post facilities in Los Angeles: Plaster City, then Light Iron. Out of necessity, he moved on to color at his company. He found his combination of photography and compositing matched perfectly for a career as a colorist.

In this podcast, we talk about:

Coloring David Fincher films and working with extremely dark images
The challenges of working on VFX heavy projects
Making HDR look both cinematic and realistic
Advantages of working with high-end systems like Quantel Pablo
The difference between working on TV and films
How experience with compositing served him as a colorist
Bringing life to images using texture
Using film emulation LUTs in his workflow
Comparing different cameras as a colorist
Using ACES in a color managed workflow
Keeping grades simple, clean, and efficient

Listen to the interview

Tech Media Planet: The Social Network

Episode 22

December 6, 2010
Tech Media Planet

Colorist Ian Vertovec from Light Iron Digital takes us through the ins and outs of color grading one of this year’s biggest hit films “The Social Network”.

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Dolby: Ian Vertovec and Michael Cioni, from Light Iron

September 2, 2011
Dolby (YouTube)

Playlist:

Asif Kapadia on the music of Mindhunter, Amy and Senna

Edith Bowman
February 9, 2018
Soundtracking with Edith Bowman (Audioboom)

Another week, another Oscar winner chats to Soundtracking in partnership with the EE BAFTAs.

These days, the quality and quantity of original programming on streaming services is quite astounding – with A-list talent delivering high-class drama time and time again.

One of Netflix‘s standout series of 2017 was Mindhunter. Overseen by David Fincher, it tells the story of how the FBI’s profiling unit came into being in the 1970s. By turns dark, funny, moving, cool and brutal, it also makes great use of contemporary pop & rock.

So it’s with great pleasure that we welcome Asif Kapadia to the show, who directed two episodes of the first season.

Asif has won numerous awards for The Warrior, Senna and Amy, with the latter scooping the Oscar for Best Documentary. There will, of course, be plenty of examples of Amy Winehouse‘s music throughout the course of the conversation, as well as composer Antonio Pinto‘s work on both Amy and Senna.

The “FINCHER App”

Interview with Alec Gillis and Tom Woodruff, Jr. of Studio ADI

JM Prater
January 15, 2018
Perfect Organism: The Alien Saga Podcast

As Alien fans, we’ve become used to change. Different directors; different scripts; different planets; different eras; different timelines; even different film studios. With everything so constantly in flux, it’s easy to forget that Alec Gillis and Tom Woodruff, Jr. have been there since nearly the very beginning. From their pioneering work on Aliens, to the foundation of the legendary Amalgamated Dynamics, Inc., Gillis and Woodruff have been at the vanguard of the effects industry for more than three decades.

In this exclusive, unprecedented interview, our very own JM Prater visited Gillis and Woodruff at Studio ADI in Hollywood for a sit-down conversation about their love for the Alien Saga, their relationships with the fans, and much, much more.

Listen to the full interview (01:18:40)

Mindhunter director Asif Kapadia on Ed Kemper and learning David Fincher’s style

Christopher Hooton
Nov 6, 2017
Kernels (Independent)

How do films make you feel? The Independent gets personal about cinema and TV with actors, directors, cinematographers and other people from the continually evolving world of “content” in a new fortnightly podcast hosted by Culture Editor Christopher Hooton.

Netflix‘s new original series Mindhunter has enrapt a legion of viewers with its smart, reserved style. Chris sits down with episodes 3 and 4 director Asif Kapadia to look at how it came together, how Brad Pitt‘s DVD of Senna led to his signing, directing an actor as serial killer Ed Kemper, learning from David Fincher on set, and how a season of TV’s episodes are carved up for different directors.

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The Empire Film Podcast – David Fincher Interview Special

John Nugent
19 Oct 2017
Empire

David Fincher is one of the greatest filmmakers working in Hollywood, with a CV that includes some of the best dramas and thrillers of the past thirty years, from Seven to Fight Club to Gone Girl to The Social Network. Now he’s returned to the small screen with Mindhunter, a tough new Netflix TV drama that deals with the FBI agents trying to get under the skin of serial killers. To mark the occasion, we sat down with the man for a forty-minute conversation about his approach, his style, and his future projects.

You can listen to the Empire Podcast via our iTunes page, our SoundCloud page, or by pressing play below.

BFI LFF: MINDHUNTER Q&A with David Fincher hosted by Nev Pierce. Complete Audio

Nev Pierce and David Fincher (BFI, Twitter)

Nev Pierce
Audio recorded by Joe Frady

Plus: MINDHUNTER Q&A with David Fincher, Jonathan Groff & Holt McCallany hosted by Kate Taylor.

2017-10-11 Matthew Doyle (Twitter) - Preview of first two episodes of MINDHUNTER at LFF plus Q&A

David Fincher, Jonathan Groff, and Holt McCallany (Matthew Doyle, Twitter)

‘Se7en’: A Rain-Drenched, Somber, Gut-Wrenching Thriller that Restored David Fincher’s Faith in Filmmaking

(May 27, 2017)
Cinephilia & Beyond

Slightly more than 22 years ago, David Fincher, a talented filmmaker who made music videos and commercials and was left by his directorial stint on his first feature Alien 3 so disillusioned and bitter he felt “he’d rather die of colon cancer than do another movie,” stumbled upon a script that would renew his faith in the filmmaking business. This particular piece was written by Andrew Kevin Walker, and was deemed too dark and bleak to succeed. The story was largely shaped by Walker’s experience of living in New York City for a couple of years, where he felt alienated, lonely and unhappy. Desperately trying to get his story made, Walker agreed to rewrite the screenplay on the demand of director Jeremiah Chechik (Christmas Vacation), and it was this altered version that should have ended up in Fincher’s hands. But the studio made a mistake, delivering Walker’s original piece to Fincher, who was immediately intrigued and, even when the mistake was explained, chose to insist on the utter darkness Walker envisioned. By mere happenstance, therefore, Se7en found its director and made the first, crucial step on its way to cinematic immortality. […]

Read the full article