Netflix Delivers a Killer Serial Killer Series: Production on David Fincher’s ‘Mindhunter’

In addition to serving as co-executive producer for Mindhunter, Fincher directed four hours of the 10-episode season.

By: Kevin H. Martin
10/26/2017
Creative Planet Network / Digital Video Magazine

The first masterpiece from filmmaker David Fincher was his feature film Se7en, a procedural featuring one of the most memorable serial killers ever committed to celluloid. Ten years ago he returned this dark territory with Zodiac, an adaptation of the true-life case involving a still-unknown killer who struck repeatedly throughout the San Francisco Bay area. In the years since, Fincher helped launch House of Cards (an adaptation of the successful UK series) for Netflix. He comes back to the crime investigation genre with Mindhunter, a 10-part streaming series that launched on Netflix on Oct. 13.

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In addition to serving as co-executive producer for Mindhunter, Fincher directed four hours of the 10-episode season, with Christopher Probst shooting the pilot installment. The other directors were Asif Kapadia, Tobias Lindholm and Andrew Douglas.

Cinematographer Erik Messerschmidt shot part of episode two, along with the remaining eight episodes. Messerschmidt had served as gaffer on Fincher’s most recent feature, Gone Girl. He pulled double duty on this fall’s Granite Mountain, gaffing and shooting 2nd unit—the latter a duty he performed for next year’s Sicario follow-up, Soldado, as well. “Fincher was very involved in the process, which is to be expected. He was there every day,” Messerschmidt says.

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2017-10-26 Creative Planet Network - The Plate Van

Crime Scenes: Evolving the Postproduction Process on ‘Mindhunter’

I recently spoke with Tyler Nelson, one of the four series editors, who was given the opportunity to move from the assistant chair to that of a primary editor on ‘Mindhunter.’

By: Oliver Peters
10/26/2017
Creative Planet Network / Digital Video Magazine

The minds behind David Fincher’s Mindhunter

Adobe

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.

Netflix Series Mindhunter Brings Filmmaking Savvy to Episodic TV

Meagan Keane
October 23, 2017
Adobe Creative Cloud

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.

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Mindhunter production workflow based around Adobe Premiere Pro CC

Adobe Premiere used on big new 10-part Netflix TV series

Alex Gollner
13 September 2017
Alex4D

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.

[…]


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The Making of Gone Girl

Jonny Elwyn, Film Editor
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