A video of Lee Child’s intro to last year’s BFI screening of “SE7EN“. I was there that night for the specially imported, ‘privately owned’ (QT?), original CCE 35mm print. I would have preferred a 4K DCP…
November 30, 2017
Thriller author Lee Child talks to the BFI‘s Stuart Brown about David Fincher’s dark crime thriller, which follows a detective duo who find themselves pursuing a serial killer who uses the seven deadly sins to theme his murders. With a great ensemble cast and Darius Khondji’s camerawork helping to bring out the bleak, urban landscape, Se7en was a worldwide success.
January 16, 2018
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
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”.
Listen to the interview
Dolby: Ian Vertovec and Michael Cioni, from Light Iron
September 2, 2011
Thanks to Joe Frady
March 28, 2018
An experimental video essay covering David Fincher‘s “Zodiac“, a true crime masterpiece that might be more true than you’d expect.
All interview excerpts taken from the special edition Blu-ray and DVD.
Thomas Flight‘s video that helped inspire me:
Mehruss Jon Ahi and Armen Karaoghlanian
January 19, 2018
The television show, Mindhunter, created by Joe Penhall and executive produced and directed by David Fincher, is one of the most visually distinctive shows and for good reason. David Fincher’s filmography has become something that we aren’t used to seeing. From the Cinematography to the Production Design, Fincher has achieved a level of mastery that other films and television shows do not seem to have.
Based primarily in Pittsburgh, Pennsylvania, the show depicts incredible locations and interior spaces, such as a variety of interrogation rooms that are both visually stunning and exceptionally detailed.
In an exclusive interview with Interiors, we spoke with Steve Arnold, who is the Production Designer for Mindhunter. The images are property of Steve Arnold and his team.
Read the full interview
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)
January 4, 2018
Film Music Magazine
Just about the last thing anyone wants to do is enter the mind of pure evil, let alone hear it meticulously, and deliciously describe its murderous exploits. That a view inside of its horrifying headspace has resulted in such eerily intoxicating music is a testament to the powerfully emerging voice of Jason Hill in “Mindhunter.” Created by serial killer media enabler par excellence David Fincher, this acclaimed Netflix series’ twist is that we barely see any violence at all. Rather, the acts and its reasoning are told to FBI profilers Holden Ford (Jonathan Groff) and Bill Tench (Holt McCallany), who traverse the country to find out what makes madmen tick. That the birth of the agency’s serial killer profiling unit is no work of fiction makes their subjects’ descriptions all the more terrifying, if no less fascinating in the awfulness that’s drawn entertainment to these predators again and again. That Jason Hill hears the recording sessions, and their effect upon the agents, with such dark poetry is all the more unsettling.
If the interview subjects of “Mindhunter” have seemed to emerge from the shadows, seemingly out of nowhere, the same might be said (if not murderously) about how Hill’s innovative talent has burst upon the binge-watching scene. With only one scoring credit for a dirt biking madman behind him, Hill’s production work for the likes of David Bowie, The New York Dolls and The Killers along with his band Louis XIV have led him into Fincher’s company – a band of musical profilers whose work has ranged from the raging orchestra of Howard Shore’s “Se7en” to the subtle, conspiratorial piano of David Shire’s “Zodiac” and the piercing electronics of Trent Reznor and Atticus Ross’ “Gone Girl.”
Hill’s realization of a twisted psyche is just as uncommon and original, eschewing the kind of dissonance that scores most associate with serial killers, Hill’s soundtrack for this hit, ten-part series is poetic, even beautiful in its crystalline use of sound and samples, music that suggests a voyage to an alternate, shimmering universe far more than it does a basement torture dungeon. Its ethereal, even poignant stuff, yet with a tonality that tells us something is unholy in its deceptively surreal bliss. Even as brilliantly crazy as Brian Reitzell’s music was for the equally astounding “Hannibal,” there’s never been quite a serial killer show, or soundtrack like “Mindhunter.” In no small part, we can thank an essentially newfound composer who’s brave enough to hear shocking words that might drive others’ insane, and turn the description of the deeds into things of hypnotic, unearthly beauty that dares us to turn away. And like the subject of the increasingly unnerved agents, Hill is the killer who keeps the tape machine running, now describing in detail to us how he draws listeners ever deeper into “Mindhunter’s” entrancing madness.
Read the full interview
Asif Kapadia, director of episodes 3 and 4, with Erik Messerschmidt on the Mindhunter set.
Director David Fincher drove an era-defining aesthetic using the highest-end equipment. Definition spoke to cinematographer Erik Messerschmidt to find out how it influenced the huge Netflix hit, Mindhunter.
Julian Mitchell, Editor
Definition (Bright Publishing)
Thanks to Joe Frady