There are many reasons why there’s a general wave of excitement whenever there’s a new David Fincher movie. That’s particularly been the case with Mank considering the six-year gap since Fincher’s last film Gone Girl, roughly half that time in which Fincher was making the series Mindhunter for Netflix.
Most of Fincher’s fans within and outside the industry see the filmmaker as a modern master of the visual medium, and Mank offers further proof of this with stunning shots recreating Hollywood in the ‘30s and ‘40s, fully realized background environments in which well-known icons from the era discuss the political climate of the times, both in the country and in Tinsel Town itself. At the center of it all is Gary Oldman’s Herman Mankiewicz, the illustrious screenwriter who would win a shared Oscar for co-writing Orson Welles’ Citizen Kane.
One person who has been along for the ride watching Fincher’s rise as a visionary filmmaker is Peter Mavromates, whose first film with Fincher was 1997’s The Game, but who first met the director on a Michael Jackson video and a commercial he directed. Mavromates has worked in post for over 35 years, as one of the first to champion the benefits of combining analog film with digital post, producing his first DI (Digital Intermediary) for Fincher’s 2002 movie, Panic Room, which was shot on analog. Five years later, he did the same for Zodiac, Fincher’s first digitally-shot film.
As Fincher’s Post-Production Supervisor, Mavromates’ duties continued to expand and evolve, his duties involving all the budgeting and hiring when it comes to the post process. “I like to describe it as once the image is captured, it becomes my problem,” he told Below the Line over a Zoom call a few weeks back.
Earning your stripes as a cinematographer can be hard enough. But the prospect of shooting your first movie with a Golden Globe, Primetime Emmy and BAFTA Award-winning director, about one of the greatest films of all time, starring some of the best actors working today, and capturing it all in HDR B&W, would seem perfectly daunting.
“Yes, it was quite intimidating, but it was also unbelievably exciting,” admits DP Erik Messerschmidt ASC, as he recalls the invitation from David Fincher to capture the filmmaker’s next movie – the biographical drama Mank.
Mank takes place in Hollywood during the 1930s and early 1940s. It follows screenwriter Herman J Mankiewicz, played by Gary Oldman, and the process he undertook for Orson Welles to develop the screenplay for what would become Citizen Kane (1941, dir. Orson Welles, DP Gregg Toland ASC). Nominated in nine categories at the 1942 Academy Awards, Citizen Kane won the Oscar for Best Original Screenplay, shared by Welles and Mankiewicz.
The film, based on a screenplay by the director’s late father Jack Fincher, alternates between time periods, echoing the non-linear narrative of Citizen Kane, and revealing the trials and tribulations in Hollywood that inspired some of the characters and situations seen in the movie. These include Mankiewicz’s friendship with starlet Marion Davies, played by Amanda Seyfried, his association with newspaper tycoon William Randolph Hearst, played by Charles Dance, and his turbulent professional relationship with Welles, played by Tom Burke.
Shot entirely at 8K in High Dynamic Range monochrome, Mank also features allusions to Toland’s innovative cinematography, as well as classic day-for-night production techniques, and tips its hat to classic moments in the original film.
Mank had a limited theatrical release in November 2020, before streaming on Netflix in December. It received overwhelmingly positive reviews, with particular praise given to the direction, cinematography, production design, soundtrack and the performances, and is expected to feature strongly during the 2021 award season.
Fincher’s directorial credits include Se7en (1995, DP Dariusz Khondji AFC ASC), Fight Club (1999, DP Jeff Cronenweth ASC), Zodiac (2007,DP Harris Savides ASC) and The Social Network (2010, DP Jeff Cronenweth ASC). Messerschmidt,who came into cinematography from being agaffer, had previously lit Gone Girl (2014, DP JeffCronenweth) for Fincher, after which he immediatelymade the leap into cinematography as the leadDP on the first two season of Netflix’s Mindhunter,directed mainly by Fincher.
“I first met David on Gone Girl and got along great with him during the shoot,” says Messerschmidt. “I ended up lighting some promotional stills for that film which David shot himself. It was our first opportunity to work together creatively one-on-one. It went really well, and we stayed in touch. Both he and Cean Chaffin, his producer, knew that I had ambitions to become a DP. So, when Mindhunter came along, they offered me the opportunity to shoot it. We have been working together ever since, and I was thrilled to be asked to shoot Mank.”
Mank is the highly anticipated Netflix biopic directed by David Fincher. The movie is told through the eyes of alcoholic Hollywood screenwriter, Herman J. Mankiewicz, as he battles with personal demons to finish the screenplay for Orson Welles’ renowned Citizen Kane.
While Fincher and his team have worked with FilmLight’s Baselight colour grading system since the 2008 film The Curious Case of Benjamin Button and the Netflix TV series House of Cards, it was with Netflix’s Mindhunter that the director established his own in-house DI facility in Hollywood. Colourist Eric Weidt was brought on to lead colour development on the facility’s Baselight X system. Weidt had previously developed custom film emulation profiles for traditional film photographers, and brought his considerable experience in post-production for fashion stills and films to the grading suite.
Entirely shot in black and white, Mank has a 1930s Hollywood feel. Many tests were done before shooting – cameras, lenses, even light bulbs – before Eric developed the HDR, SDR and day-for-night LUTs alongside the project’s DoP Erik Messerschmidt. Fincher wanted to re-create certain period elements in post, for example “black blooming” in the shadows.
“A place to unload all my cinematic truths.” —Newton Thomas Sigel, ASC
How do you cultivate a career in Hollywood? What does it take to make iconic work? There’s an art to everything in life and the Art of the Shot explores the answers to those questions and more through deep-dives into the minds of master filmmakers. Join host Derek Stettler, young filmmaker and writer for the ASC and SOC magazines since 2016, as he learns from the artists behind today’s most strikingly-shot projects. Enjoy compelling conversations on the craft, insights from successful careers, tips, techniques + more!
In this episode, you’ll hear from both the cinematographer and the “A” camera operator of Mindhunter, who worked together throughout Season 1 and 2 to shoot every single episode. Please enjoy this exclusive interview with Erik Messerschmidt, ASC and Brian Osmond, SOC!
Brian Osmond, Gaffer Danny Gonzalez, and Erik Messerschmidt (Nikolai Loveikis)
In this episode, you’ll learn:
– Erik’s career path (00:04:06) – Erik’s favorite part of the job (00:06:42) – What DP’s should know to best work with their gaffers, from Erik’s experience working as a gaffer before becoming a DP (00:07:02) – Unique skills Erik gained from his experience as a gaffer (00:07:56) – How Brian got his career started (00:11:19) – Brian’s favorite part of his job (00:12:19) – What other directors can learn from how David Fincher treats his crew (00:18:39) – The thought process & techniques behind Mindhunter‘s precise camera movement (00:22:50) – The strategic use of handheld camera operating (00:34:27) – The collaborative nature of the Mindhunter set (00:37:34) – The importance of having a dedicated camera operator on set, especially on a David Fincher set (00:41:19) – Erik’s role as “quality control supervisor” (00:44:21) – Why a monitor on a David Fincher set is covered in smudges (00:46:57) – Why there’s no such thing as a B camera “bonus shot” on Mindhunter & how shots are planned out for multiple cameras (00:48:23) – What Erik thinks is the hardest shot to do well (00:52:04) – How Erik lights & shoots with 2 cameras simultaneously (00:53:41) – Erik’s approach to lighting Mindhunter & techniques used (00:56:55) – Erik’s preference for real fluorescent lighting (01:03:30) – Mindhunter‘s production design and how much of the locations were built (01:05:01) – Favorite set of Season 2 (01:06:26) – How getting scripts in advance helps them work better (01:10:44) – The innovative car process shooting on Mindhunter & how it works (01:12:38) – How virtual production helps realize every filmmaker’s dream, stopping time, & how Erik used that to shoot a 9-minute dialog scene at dawn (01:18:02) – How the car process shooting on Mindhunter evolved from Season 1 (01:22:37) – How the custom RED digital cinema camera, dubbed the Xenomorph, evolved from Season 1 (01:27:22) – Why Brian prefers a fluid head over a geared head to achieve those smooth, precise shots David Fincher loves (01:37:34) – How to shoot a scene & why “Fix it in prep!” should be every filmmaker’s mantra (01:42:08) – All about the lenses used on Mindhunter & how Erik art directed the artifacts & nuances of every optical aberration (01:48:10) – Tips from Brian on getting really precise shots with a fluid head, what operating technique Erik has learned from Brian, & how being self-critical is a key to his success (01:56:42) – What Erik & Brian feel is the most rewarding part of working on Mindhunter (02:02:47)
If you haven’t yet, please be sure to subscribe to be notified of future episodes, and share this podcast with others to help grow the show and spread the knowledge!
Eric Weidt talks about his collaboration with director David Fincher – from defining the workflow to creating the look and feel of Mindhunter. He breaks down scenes and runs through colour grading details of the masterful crime thriller.
Eric Weidt spent years in Paris working with fashion photographers transitioning from traditional film to digital capture workflows. He created custom film-emulation ICC profiles, and mastered color work and compositing techniques for print stills and fashion films.
Clients included Mario Testino, David Sims, Patrick Demarchelier, Mert Alas and Markus Piggot, Steven Meisel, Hedi Slimane, Karl Lagerfeld. His motion picture work for David Fincher includes responsibilies as VFX artist (Gone Girl), and Digital Intermediate Colorist (Videosyncracy and Mindhunter).
He holds a BA in Theater Arts from the University of California at Santa Cruz and is both an American and French citizen.
When David Fincher transitioned from music videos to feature films in the 1990s, the descriptors “glossy,” “slick” and “stylized” were frequently affixed to his work. Those adjectives were often aimed as pejoratives, categorizing Fincher as a technical virtuoso who created shiny but hollow thrillers.
Watching the second season of Netflix’s Mindhunter—executive produced and partially directed by Fincher—the evolution of the filmmaker’s aesthetic is striking. As FBI profilers Bill Tench (Holt McCallany) and Holden Ford (Jonathan Groff) interview America’s most notorious serial killers, the camera rarely moves. Instead, it unobtrusively observes.
What hasn’t changed over the years is Fincher’s unwavering exactitude, exemplified by the show’s almost mathematically meticulous compositions. Cinematographer Erik Messerschmidt is the guardian of that precision, carrying season two’s restrained yet formal style across episodes directed by Fincher, Andrew Dominik (Killing Them Softly) and Carl Franklin (One False Move).
With season two now streaming on Netflix, Messerschmidt spoke with Filmmaker about the necessity of HDR monitoring, creating faux-anamorphic effects, and his hockey puck-sized secret weapon for eye lights.
Filmmaker: It’s been two years since season one of Mindhunter, which you shot on custom Weapon Red Dragons (nicknamed Xenomorphs). I guess it shows how quickly camera technology is changing, because since that time Red has gone to a universal DSMC2 brain and the Dragon sensor is only in their lowest-cost camera. Now the Monstro 8K VV and the Helium 8K S35 are Red’s top-of-the-line offerings. Did you change cameras for season two?
Messerschmidt: For season two we switched to Red’s Helium sensor, shooting in 8K 2:1 with 8:1 compression. Out of the 8K raster we framed for a 6.5K extraction area, which left room for stabilization in post. We did extensive lighting, color and workflow tests prior to the decision to switch camera sensors and ended up loving the results of the Helium. We found the noise floor to be substantially lower, the color fidelity to be better and the sensitivity to be higher than the Dragon.
Filmmaker: Did you have any additional custom Xenomorph tweaks for the new cameras?
Messerschmidt: For season two Red built us a new model of the Xenomorph dubbed the Mark II. The new body included the DSMC2 brain with the Helium sensor. It was upgraded with redesigned cooling, integrated lens motors and the new Teradek Bolt video transmitters.
David Fincher‘s knuckle-biting Mindhunter series for Netflix is based on the true-crime book, Mind Hunter: Inside the FBI’s Elite Serial Crime Unit, an autobiography centered around the establishment of the FBI Investigative Support Unit, the foundation of which would become modern day criminal psychological profiling.
Each hour-long show (from the 10-episode run) was graded 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 Fincher. Weidt started with Fincher as a visual effects beauty artist for the 2014 film, Gone Girl. Before that, he had worked in post production in the world of Parisian fashion.
With considerable experience in Photoshop and the Adobe infrastructure, Weidt brought his retouching talents to motion as photography and filmmaking began to bleed together. Weidt even created custom film-emulation ICC profiles and scanned grains for photographers transitioning from film to digital capture.
Colorist Eric Weidt.
Meanwhile, Fincher and his team had been working with FilmLight‘s Baselight color grading tools and plug-ins since The Curious Case of Benjamin Button, and on the Netflix series, House of Cards. 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. Weidt was brought on to lead color.
“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 the Dolby Cinema Old Vine theatre in Hollywood. He was given a simple brief: The show was set in the late 70s, centered on the FBI interviews of serial killers.
“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. You say 70’s’ and everyone already has an image” 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, which automatically take his XML trims, and using that, create offline files to view on an iPad or monitor.
“All you really need to do is add a trim pass layer to each shot, then hit analyze. It might take 40 minutes to analyze the whole hour’s episode. You come back, and you have your SDR version. It’s done, except that you are able to then do lift/gamma/gain, or some saturation adjustments on the trim pass. I found that maybe 85 percent of the time it looked like there wasn’t really anything to do. Out of the box, it’s pretty amazing.”
He continues that, “You don’t want to grade with both monitors, because you’ll go nuts. You have to learn to accept that the REC 709 compared to the HDR is going to look more dull.” 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.”
The RED Xenomorph custom camera for Fincher.
“Low contrast does not mean low detail,” Weidt carefully points out. That required a camera with outstanding capabilities for the production. Cinematographers Erik Messerschmidt and Christopher Probst, ASC, employed a one-of-a-kind Red camera with a 6K Dragon sensor called Xenomorph, developed by Red to Fincher’s specifications. Weidt’s starting point for dailies, as well as any color work on the master, began with a low-contrast log curve based on REDgamma3 that maintained as much of the dynamic range provided by the Red Xenomorph as possible, and gave the SDR monitoring on set an approximation of Weidt’s HDR workflows.
“When you grade something, the tone curve can be your initial contrast,” says Weidt. “It’s a bit like choosing a film stock. With Red, at that time, the most current tone curve was REDgamma4. It’s a nice, contrast-y curve, but David wanted to go back to a previous tone curve, which was REDgamma3. It’s a softer curve, and it rolls off quicker and easier in the highlights and also in the shadows.”
With the Dolby Vision HDR toolset, custom color transforms helped manage the monitoring during production. From 6K .R3D files to linear OpenEXR files, they were able to go straight to grade in Weidt’s and Messerschmidt’s preferred ‘flat’ log. For Dolby Vision HDR mastering, Weidt used the Dolby Pulsar 4000-nit professional reference display, while the Rec709 passes were done with automated mapping to SDR from Baselight. For SDR, they used a Dolby PRM monitor at 120-nits.
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.”
Areas of focus circled using PIX.
After the grade.
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. Mindhunter used a 5K working area extracted from the full 6K frame, ultimately downconverted to a 4K deliverable, a Netflix requirement. As a 2.2:1 center extraction, the editors were able to reposition the image subtly, as needed. The image was stabilized further as necessary by using sophisticated tracking for repositioning and resizing without loss of resolution upon deliverable at 4K.
“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.”
Before / After
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 . “Unfortunately, that focal length is not something that’s carried through in metadata. It’s tallied by the camera assistant with name of the clip and the focal length and put into a database. I had to find a way to apply the right settings for every single clip, in the absence of metadata.”
Weidt was able to merge this information by teaching himself the Python scripting engine for asset management adding the focal length as a variable in the comment field. That enabled him to classify and organize shots by telephoto, standard and wide, then multi-paste effects into an alpha-numerically sorted timeline which came in handy throughout the production. “It worked beautifully,” 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.
Creating a specific ’70s look.
is graded on Baselight.
“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.”
Weidt notes that next season will be shot using a Helium sensor, and HDR monitors will be on set along with a new ACES color space workflow. “We’ve got 20 layers just for chromatic aberration. We’ve got lens warping. We’ve got three different types of grain as well, because you couldn’t just have one,” Weidt adds, regarding the final rendering process.
“Season 2 is going to be just like a real walk in the park compared to season one. We learned so much.” Season 2 of Mindhunter is currently in production.
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
April 2018 ICG Magazine
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.
Colorist Eric Weidt shares creative insights on using Dolby Vision and Baselight to shape the look of the gripping Netflix original series.
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
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…