American Cinema Editors (YouTube)
May 6, 2018
Editors on Editing: Glenn Garland, ACE talks to Kirk Baxter, ACE about editing the film, GONE GIRL.
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:
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…
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.
David Fincher is known for directing many successful films, including Gone Girl, The Social Network, The Girl with the Dragon Tattoo, and The Curious Case of Benjamin Button, as well as the Netflix hit series House of Cards. With each new project, he mesmerizes audiences with his unique storytelling and visual style. His latest project, the 10-episode Netflix series Mindhunter, is no exception.
One of the keys to David Fincher’s success is a talented post-production team that shares his work ethic, passion for filmmaking, and willingness to push boundaries. Peter Mavromates has served as a producer and post-production supervisor on multiple Fincher projects, while Editors Kirk Baxter and Tyler Nelson, along with Assistant Editor Billy Peake and In-house VFX Compositor Christopher Doulgeris, are all veterans on the team.