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.
Eric Weidt, Dolby’s Thomas Graham, and Netflix’s Chris Clark.
A look at the show’s unique HDR look and workflow
Each Mindhunter hour-long show (from the 10-episode run) was graded using FilmLight’s Baselight color grading tools by colorist Eric Weidt, who navigated between ultra-modern capture technology, the time and place of late 70s cinema and the very specific needs of David Fincher.
Adding an editorial and visual effects team at his facility in Hollywood, Mindhunter was the first time that the auteur established his own in-house DI. “It’s important to note, we had a lot more time to work on this show than most grades,” Weidt pointed out during a special HDR presentation by FilmLight, Dolby, and Red Digital Cinema at Hollywood’s Dolby Cinema Old Vine theatre.
“The 70’s and serial killers backdrop brought to mind David Fincher’s Zodiac, which is an absolutely brilliant movie; a masterpiece in terms of both content and color,” he says. “The 70s has a distinct color palette” he continues. Street photographers William Eggleston and Stephen Shore are personal sources of inspiration for initial color grading.
Post and edit began as production rolled in Pittsburgh. Dailies were usually available to Fincher by the following day. The production used FotoKem’s nextLAB dailies system and the PIX asset and data management and delivery platform.
Due to overlapping shoot and post production schedules, “David looked at things on his iPad for two-thirds of the season,” says Weidt, explaining that he had a complex rendering process that allowed him to manage new HDR footage as well as sending regular corrections from Fincher to view in SDR. The Baselight workflow file was separated into two timelines, one for any creative color adjustments, and another that had stabilizations and lens emulations applied. Weidt would daisy-chain them, run it through the Dolby Vision HDR professional tools, and create offline files to view on an iPad or monitor.
Weidt says that Fincher’s color design for Mindhunter was heavily influenced by the organic palette of several classic films, such as McCabe and Mrs. Miller, All the President’s Men and the more chromatic yet grittier look of The French Connection. They also wanted a low contrast, information-rich picture, and had first experimented with low contrast optical filtration on set but preferred in the end to “set up the digital chain in a way that Fincher was getting the type of image that he wanted.
Weidt’s starting point for dailies, as well as any color work on the master, began with a low-contrast log curve that maintained as much of the dynamic range provided by the Red Xenomorph camera as possible, and gave the SDR monitoring on set an approximation of Weidt’s HDR workflows.
The HDR look was developed in post production: “In HDR, we initially came across a lot of scenes where the light sources were taking too much prominence,” Weidt says. “David and his post supervisor Peter Mavromates really wanted an elegant balance. Mindhunter’s HDR is not trying to strike you or slap you in the face. Just like the sound mixing, or cutting, it is not trying to blow your mind, but rather convey the story content. The latter is really what’s going to punch you.”
Many of Fincher’s notes require simple dodging and burning, performed primarily through Weidt’s use of shapes, masking and tracking in Baselight. Using PIX, Fincher would circle subjects or areas of a frame, giving suggestive chromatic terms like ‘sallow’ or ‘ruddy,’ and ‘equidistant’ or ‘symmetrical’ in regard to reframing.
Areas of focus
After the grade
“David is famous for having a visual style where he is going to stabilize two-thirds of the shots in an episode, or in a movie, so that everything is absolutely perfect,” says Weidt. “What he wants is that the camera, the gaze into the image, is totally unconscious, and you’re really in there without distractions that most people take for granted.” After Fincher returned to Los Angeles, their standard workflow on a scene together would start with a master shot that incorporated the characters as well as background, timing color and light levels for other shots and angles in scenes to be timed from that reference.
Fincher’s eye for detail goes far beyond that, though, and Weidt noted several corrected items that would have escaped his attention, like plants outside a prison that were too vibrantly green, or highlights in reflections that needed to be turned down to match light sources. “There are certain colors that David needs to suppress, and that’s mostly pink,” he continues. “Pink appears in people’s skin tones, and if you get it wrong in the grading suite and ends up on a monitor outside of that environment, it’s going to appear like they have pink faces and it looks really bad. David wants to control that.”
Using Summilux-C primes from CW Sonderoptic, XML information was created for every focal length. This was a requirement on Mindhunter as simulations of grain, lens barreling and chromatic aberration in Baselight were tailored to the specific focal length throughout the show. Weidt even created anamorphic effects for the spherical lenses. “David wanted to refer to 70’s in what could be called ‘the anamorphic wide-screen era,’” he says.
He also added pseudo chromatic aberration “on every shot and every episode of Mindhunter,” which he developed himself, as the vast majority of plug-ins and filters will simply shift one of the primary color plates, stretching from center, resulting in bi-color aberrations. These created results that Fincher found lackluster, when for example given a cyan-red, he’d really only want the cyan. “I found the solution in Baselight, which essentially took 20 layers, using blending modes that are usually the purview of a compositing tool,” Weidt says.
“David directed four episodes of Mindhunter, but he’s the executive producer for the show, and he’s definitely the director of the DI,” he adds. “All of the color, he directed himself, with contributions from Erik Messerschmidt.”
This is an abridged version of the full in-depth article available in the June issue of Post Magazine
January 16, 2018
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
Tech Media Planet: The Social Network
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”.
Dolby: Ian Vertovec and Michael Cioni, from Light Iron
September 2, 2011
Thanks to Joe Frady
Erik Messerschmidt and Chris Probst, ASC, also have made “smart” use of LED technology, as detailed in our cover story on Mindhunter (page 36). David Fincher, who first started using LED’s for process work on Zodiac, 11 years ago, not only customized a high-resolution RED camera for the show (dubbed the “Xenomorph”), but also devised one of the most ingenious LED-driven plate projection/interactive lighting processes for driving shots TV has ever seen. Messerschmidt’s description of Fincher’s commitment to innovation mirrors those Sundancers bending technology in the service of new ways to tell a story: “For David, the frame is sacred; what we choose to include is intrinsic to what the audience thinks is important. They are one and the same.”
David Geffner, Executive Editor
Visualizing the daring and often scary world of David Fincher requires new technologies and processes rarely attempted in series television.
Photos by Patrick Harbron & Merrick Morton, SMPSP
In the season 1 finale of Netflix’s MINDHUNTER, a disturbed FBI agent, Holden Ford (Jonathan Groff), bursts wildly from a hospital room, as a handheld camera gives chase. The move begins as shaken as ford is, but, as it lands with the agent, who collapses in the hallway, it’s as if the camera has floated to a butter-smooth stop inches from the floor, the maneuver executed like it was on a perfectly balanced Jib arm, crane, or even Steadicam. But it’s none of those. What can viewers assume from this?
David Fincher has returned to television.
FOR THIS SERIES ABOUT A PAIR OF AGENTS WORKING IN THE FBI’S ELITE BEHAVIORAL SCIENCES UNIT in 1979, and attempting to understand the mind of a serial killer, Fincher used a number of leading-edge technologies – interactive LED lighting, custom built high-resolution cameras, and, as in the shot with Agent Ford, image stabilization/smoothing in postproduction – to keep the viewer visually embedded. Fincher’s aim with MINDHUNTER, which has no graphic violence, is for viewers to “access their own attics. There’s far scarier stuff up there than anything we can fabricate,” the filmmaker insists. “I wanted people to register what’s going on in [characters’] eyes and where the gear changes are taking place. At what point do I [as the viewer] feel like, ‘OK, I’ve got an insight,’ and at what point do they feel like: ‘oh, I’m being sold something. It’s all about the nuance in how the balance of power is changing.”
Fincher’s longtime postproduction supervisor, Peter Mavromates, says he creates an “experience of omniscience,” similar to Kubrick’s A Clockwork Orange, “where you’re in a straitjacket with your eyelids pinned open, and David’s forcing you to watch these horrible things.” In fact, the show’s unique visual process began more than a year before production started in Pittsburgh (on area locations and on stages at 31st Street Studios, a former steel mill), with the development of a unique RED camera system.
Christopher Probst, ASC – who shot MINDHUNTER’S pilot and second episode – was asked for his input on a RED prototype system, which had been designed by Jarred Land and RED’s Chief Designer Matt Tremblay according to Fincher’s specific needs. “David wanted to take all of the different exterior add-ons that create a jungle of wires, and put them inside the camera body,” Probst explains.
Fincher puts it even more directly: “It just seems insane that we’ve been bequeathed a [camera] layout [dating back to] D.W. Griffith and Charlie Chaplin that looks like some bizarre Medusa. [The camera] should be something that people want to approach, touch, and pick up.”
In fact, the custom system built for Season 1 [Land created a 2.0 version being used in Season 2] had an RTMotion MK3.1 lens-control system, Paralinx Arrow-X wireless video, and Zaxcom wireless audio (with timecode) integrated into the RED body, with the only visible cable being to control the lens. Slating was all but eliminated, with clip-number metadata being shared wirelessly between the camera and the script supervisor, who used Filemaker software to associate takes and clips. An audio scratch track from the mixer was recorded onto the REDCODE RAW R3D files and received wirelessly.
The base camera was one of RED’s DSMC2 systems, the then-new WEAPON DRAGON, with its 6K sensor. The shell design, accommodating the added gear inside, with its angular shape and heat venting fins on top, had a “Xenomorph” appearance (à la Alien), and was dubbed as such by Land and Fincher. “When the camera arrived in Pittsburgh, they had actually engraved “Xenomorph” on the side,” Probst says.
Read the full profile:
Join us for an exclusive presentation by colorist Eric Weidt, who will demonstrate how he collaborated with producer and director David Fincher to create the look of the masterful psychological thriller Mindhunter.
Don’t miss this opportunity to explore how Eric developed the HDR color grade, which drew inspiration from films of the ’70s – demonstrated live on BaseLight.
The presentation will be followed by a technical discussion where Eric will be joined by Peter Postma, FilmLight‘s Managing Director of the Americas, Thomas Graham, Dolby‘s Sr. Manager of Imaging Content Solutions and Chris Clark, Manager – Imaging Science Technologies at Netflix who will share insights from their work with the latest tools and solutions for creating amazing HDR content.
March 28, 2018
Dolby Cinema Vine Theatre
Los Angeles, CA 90028
Full details of the event:
The Netflix original series Mindhunter, from director David Fincher, has been delivered in 4K and high dynamic range (HDR).
Co-produced by Peter Mavromates and graded by colorist Eric Weidt, it is set in the late 1970s, and sees two FBI agents expand criminal science by delving into the psychology of murder. Grading took place on the Baselight X color grading system from FilmLight, alongside editorial and VFX, in Fincher’s Hollywood finishing facility.
In this exclusive interview, Peter Mavromates and Eric Weidt tell us more about how they created the desired look for the series, their collaboration with the director, editorial and VFX, and much more…