Winner, Theatrical Feature: Eric Weidt, for ‘Mank’
The award for the grading of a theatrical feature went to Eric Weidt, who worked with DoP Erik Messerschmidt on ‘Mank’. Shot on an 8K REDcamera, the movie is striking for its 30s Hollywood look combined with the crystal-sharp resolution.
Weidt also talks about his projects with Fincher for 2022.
We open this year’s column with a kind of meta reflection on cinematography itself, as contained in the recent Netflix series Voir.
Continentally savvy readers already know “voir” means “to see,” but this is a series about “seeing” movies, cinema, in the broadest sense, which is to say, what films mean, and what effect they have on both individuals, and the world at large. It’s done in a series of visual meditations, usually on the specific film in question which sent the various narrators into their respective futures as essayists, bloggers, reviewers, and makers of the medium.
From producers David Fincher and David Prior, Voir dropped with vastly less fanfare accorded to something like a new Cobra Kai or Witcher season, perhaps because it’s non-fiction, or more likely, because each episode averages about fifteen minutes. They are shorts in other words. About movies.
We caught up with cinematographer Martim Vian, who shot four of the series’ six episodes. The one we wanted to really talk to him about though, was the first one (if simultaneously dropped episodes can be said to have an order), called Summer of the Shark.
David Fincher and David Prior are producers on Netflix‘s latest upcoming series Voir— a series of visual essays celebrating Cinema and the personal connection we each have to the stories we see on the big screen.
Each episode celebrates various aspects of cinema through interviews and personal anecdotes from historians and filmmakers. The series’ cinematographer, Martim Vian, spoke exclusively to ProductionHUB about his specific vision for the series, the importance of personal and historical anecdotes, and the impact of Vior on the viewer.
In this episode, we talk with director David Fincher’s favorite colorist Eric Weidt about the art and craft of color grading.
Eric has an incredible list of credits that includes Mank and Mindhunter. His works on these projects extend far beyond traditional tasks of color grading, incorporating complex look modeling and incredibly detailed adjustments on virtually every frame.
The techniques and insights he shares in this episode are unique and includes topics such as how to sculpt the viewers experience with textural and spatial tools, the lens treatment techniques used on Mindhunter, the process and swan curve treatment behind the day-for-night shots on Mank, advanced grain work and so much more.
This episode is sponsored by Pixelview, an industry standard and affordable streaming solution for editors and colorists.
Cinematographer Jeff Cronenweth, ASC, is the son of Jordan Cronenweth, ASC, one of the most influential cinematographers in history, most notable for Blade Runner.
He worked with his father as a camera loader and second assistant camera during high school, graduated from the USC School of Cinematic Arts, and worked his way up to first assistant camera and then camera operator until the mid-1990s. He also worked for legendary Swedish cinematographer Sven Nykvist.
The first major motion picture where he acted as a DP was for David Fincher‘s Fight Club. Other notable feature films on which he worked as a DP are One Hour Photo, directed by Mark Romanek, K-19: The Widowmaker, Down With Love, The Social Network, Hitchcock, The Girl with the Dragon Tattoo, Gone Girl, and recently, Being the Ricardos, written and directed by Aaron Sorkin.
He was nominated twice for an Academy Award for Best Cinematography for his work on Fincher’s The Social Network (2010) and The Girl with the Dragon Tattoo (2011).
The ceremony included a panel discussion with several of the winners in attendance and others joining in online, in a hybrid presentation watched live by many across the globe.
Eric Weidt‘s presentation on Mank starts at min. 43:36.
After watching a few David Fincher films I realised that one way he presents a cinematic world which is an exaggerated version of real life is through the weather.
0:00: Introduction 0:50: Seven 4:08: Sponsored Message 5:06: The Girl With The Dragon Tattoo 7:48: The Social Network 9:00: Conclusion
Music: Rhythm Scott – ‘Tribal Splash’ Dear Gravity – ‘Finish Remember Begin Again’ Doug Kauffman – ‘The River Brethren’ We Dream Of Eden – ‘After the Storm’ Ottom – ‘Quiet Street’
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In this edition I’ll look at Jeff Cronenweth, who, to a large extent, is responsible for popularising a style of ‘dark cinematography’, through his work on movies such as Fight Club or The Social Network.
DISCLAIMER: Some links in this description are affiliate links. If you purchase a product or service with these links I may receive a small commission without an additional charge to you. Thank you for supporting my channel so I can continue to provide you with free videos!
3 Things That Working With Jeff Cronenweth Taught Me About Cinematography
The Fincher Analyst 