David Fincher‘s new Netflix series is edited with an all-Adobe workflow, including Premiere Pro and After Effects, bringing VFX and editorial under one roof.
13 September 2017
It was tough ask for Adobe Premiere to tackle the needs of David Fincher‘s ‘Gone Girl‘ feature film in 2014. In recent months, it has been used on a bigger project: ‘Mindhunter’ – a 10 hour David Fincher exec-produced high-end TV series soon to be available on Netflix.
Instead of a single team working on a two hour film, TV series have multiple director-cinematographer-editor teams working in parallel. In this case the pilot was directed by David Fincher. The way TV works in the US is that the pilot director gets an executive producer credit for the whole series because the decisions they make define the feel of the show from then on. Fincher brought along some of the team who worked on Gone Girl. While they worked on the pilot post production, other teams shot and edited later episodes in the series.
The fact that the production company and the studio were happy for the workflow to be based around Premiere Pro CC is a major step up for Adobe in Hollywood.
The high-end market Adobe is going for is too small to support profitable software development. Even if they sold a subscription to all professional editors in the USA, that would not be enough to pay for the costs in maintaining Adobe Premiere. Its use in high-end TV and features is a marketing message that Adobe must think contributes to people choosing to subscribe to the Adobe Creative Cloud – even if renters will never edit a Hollywood film or TV show.
Jonny Elwyn, Film Editor
September 14, 2017
Jonny Elwyn, Film Editor
October 7, 2014
Reported by Joe Frady
The American director discusses his long-awaited return to feature filmmaking with Logan Lucky.
It’s been four years since Steven Soderbergh announced his retirement from filmmaking, slamming the door on his way out with an impassioned cri de coeur on the state of the industry at the San Francisco Film Festival. In the event, it turned out to be more of a working-vacation, what with his 2013 TV movie, Behind the Candelabra, and two seasons of The Knick released in the interim. Now he’s back on the big screen with Logan Lucky, one of his best films to date, bringing with it a new fight against the system with the film’s experimental distribution model. We sat down for a long chat with American cinema’s most restless workaholic, the original Sundance Kid.
Allegiances are never simple in a Fincher film.
David Fincher makes some seriously memorable films. That’s like saying water is wet, but his movies are impeccably crafted without seeming ostentatious or painfully clinical. Arguably, the best part about his films is the talking. You won’t find a film of his where character dynamics aren’t laid bare in the form of a lengthy conversation. Literally putting words on screen has been a landmark of his since the beginning of his film career.
Notably, many of Fincher’s movies crescendo to significant arguments and interrogations, and it is never just run-of-the-mill grilling. He has the ability to make talking – for want of a better term – interesting. Part of what makes his interrogations so enveloping and immersive is the insistent, intimate focus on the subjects at hand. Characters are thrust into settings but also command them in cinematically satisfying ways:
Fincher gives us just enough of any given setting, and the details are always overshadowed by the manner in which the characters move and interact within them. (Jones, 44)
Fincher has a new Netflix series coming out in a couple of months; one which will undoubtedly feature some of his signature wordy conversations. While awaiting the release of Mindhunter, we examine what it takes for him to put together the perfect interrogation scene.
Analyzing the average shot length (ASL) of films / TV / music videos can be very telling or completely irrelevant. Taken as its own metric…it is just a number. The supposition that action / thriller / sci-fi films genres have a shorter ASL is statistically accurate but that does not mean a longer ASL means less tension, action, drama or intensity.
Thanks to film editor Vashi Nedomansky, you can take a bird’s eye view of some popular David Fincher films and analyzing every single shot used.