PIX Onset Makes Connected Set A Reality

July 9, 2019
PIX+CODEX

PIX has worked closely with David Fincher and his No. 13 production company since Panic Room in 2001, developing tools and services that have fundamentally changed how feature films and television shows are made. One of the first directors to embrace digital cameras with his use of the Thomson Viper on Zodiac, Fincher and his team are constantly redefining technology as they seek to blur the line between production and post production and strive to automate the mundane and more clearly communicate their creative vision.

On Netflix’s Mindhunter, Fincher again used the latest digital capture technology – custom RED Xenomorph cameras designed to his specifications, integrating all the usual camera components (wireless video transmitters, focus controls etc.) into the camera for a much more ergonomic design. But Fincher’s desire for innovation extended far beyond the camera, so he again turned to PIX.

CHALLENGE

Working on his current project, the second season of Mindhunter, David Fincher was looking for a way to better convey the thoughts and ideas he came up with during production via annotations attached to the image captured by the camera. In the past, a thought about the grading required for a particular shot might have been conveyed via a phone call to the dailies colorist much later in the day after shooting wrapped. David Fincher required a real-time telestration solution, rather than a delayed response later in the evening or next day. And it absolutely could not delay shooting or increase the footprint or complexity of production.

SOLUTION

PIX has built a system that makes the often-used term “Connected Set” real. PIX OnSet creates a clip of the take and immediately presents this clip to the director via a tablet, so that he or she can make annotations and notes on the image right after it has been captured. These notes are then securely uploaded via PIX to all the approved members of the production who can review them along with image files. Other approved production crew – for example, DP Erik Messerschmidt – can also add their own notes. These notes are securely conveyed through to editorial and post production along with the image files and other metadata.

PRODUCTS DEPLOYED ON MINDHUNTER

PIX for Desktop, Web, iOS
PIX OnSet
– The series also utilized the PIX Developer Program for custom integrations.

RESULT

Real-Time Creative Capture – The thoughts and ideas of the creative team are recorded in real-time immediately after the take. This ensures that their vision and ideas are communicated clearly and without change through the many lines of communication to the rest of the production team, reducing the potential for misunderstanding. For example, the editorial team can easily see any notes the director or DP have made without relying on paper, phone calls or emails sent later in the day. This might be a note that a take needs to be printed down half a stop or a note that something in the frame needs to be removed in post. Having the note linked to the image vastly reduces the opportunity for error and saves valuable time.

Patented Content Security – Along with the rest of the industry-leading PIX platform, PIX OnSet is extremely secure, built on PIX’s patented DRM with dynamic and forensic watermarking and meets the exacting standards of the MPAA.

Minimal Footprint On Set – Rather than adding to the on-set production infrastructure, PIX OnSet actually reduces it by providing immediate playback of takes to authorized devices as they are captured by the camera

No Production Delays – As authorized members of the creative team can annotate the file immediately and easily on their own tablet, there is absolutely no slowdown in the pace of production.

See how PIX can help your next big project. Call or email us to set up a demo and learn more!

Film stills of Holt McCallany and Jonathan Groff on the set of Mindhunter, Season 1, by Patrick Harbron (Netflix).

Original Post

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Colorist Ian Vertovec’s Instagram Notes on His Work for David Fincher

Ian Vertovec & Michael Cioni
March 17, 2019
Ian Vertovec (Instagram)
Michael Cioni (Instagram)

Ian Vertovec is Supervising Colorist at Light Iron, which he co-founded, a Panavision company specialized in dailies, digital intermediate, archival, and data services for projects originated on file-based motion cameras.

View this post on Instagram

Reposted from @ianvertovec – The Girl with the Dragon Tattoo Dir: David Fincher DP: Jeff Cronenweth One of the best technical and creative accomplishments of our team's career was collaborating on this film. GDT included scenes shot on the first RED Epic camera (mixed in with lots of RED ONE MX) and was the first 5K RAW DI. We had to work with Quantel at the time to innovate a new way to do DI in a 5K extraction and display in 4K. It was our first time making 5K DSM non-scaled 2.40 and 1.78 masters so no blow-up was required for deliverables. It also means there is a 4K 4:3 version somewhere! The creative techniques and technology discovered on this film went into hundreds of films we did thereafter. Sometimes I travel the world and people ask, "How do you get RED cameras to look so good?" I tell them, "Don't worry so much about it. We all have access to the exact same technology to make these pictures look great. The difference is in who actually touches the tech." Colorist @ianvertovec is the key to these images and leads the Light Iron creative team to bring the best color regardless of the camera. Now you can follow his colorful journey on Instagram. Follow @ianvertovec #thegirlwiththedragontattoo #davidfincher #rooneymara #danielcraig – #regrann #regrann  #redcamera #redepic #redcamerausers #lightiron #lightironcolor #digitalintermediate #colorcorrection #cinematographer #cinematography #resolution

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PIX System: Introduction to PIX

March 26, 2019
PIX System (YouTube)

At PIX System, we help create entertainment and media by bringing creativity, collaborators and assets together. For 16 years, we’ve been creating and innovating ways to give the top creative talent, studios, mini-majors, networks, indie productions, and online content providers the time and resources they need to create. Better. Faster. More reliably.

Our industry leading platform is an open sandbox and secure home base, viewer, community workspace, media mine, think tank and muse – a place on the digital frontier where creative and strategic content and communication are safe and tidy and easily found, shared and worked on alone or together.

PIX Wins Technical Oscar: Our Conversation

Nick Dager
February 11, 2019
Digital Cinema Report

On Saturday night at its annual Scientific and Technical Awards Presentation, the Academy of Motion Picture Arts and Sciences honored PIX with a Technical Achievement Award. The award recognized Eric Dachs, founder and CEO; Erik Bielefeldt, director of research and development; Craig Wood, technical director; and Paul McReynolds for the design and development of the industry leading security mechanism for distributing media. Prior to the awards ceremony, Digital Cinema Report spoke exclusively with Bielefeldt and Wood to talk about the company’s continued innovation in the evolving world of content collaboration from film to digital to next-generation data rich requirements.

Read the full interview

PIX, the only addiction I have left.”
— David Fincher

PIX System

PIX System honored at the Academy of Motion Picture Arts and Sciences’ Scientific and Technical Awards

February 9, 2019
Oscars.org

Technical Achievement Award (Academy Certificate): to Eric Dachs, Erik Bielefeldt, Craig Wood and Paul McReynolds for the design and development of the PIX System’s novel security mechanism for distributing media.

PIX System’s robust approach to secure media access has enabled wide adoption of their remotely collaborative dailies-review system by the motion picture industry.

Scientific & Technical Awards 2018 | 2019

February 10, 2019
Oscars (YouTube)

PIX founder and CEO Eric Dachs thanked Ren Klyce, Ceán Chaffin and David Fincher (present at the ceremony): “your friendship, patience, and talents have had an enduring and measurable impact on our work, and more importantly, in filmmaking.”

Eric Dachs, Erik Bielefeldt, Craig Wood, and Paul McReynolds
(Amy Sussman/Getty Images)

SciTech Awards

Carolyn Giardina
February 9, 2019
The Hollywood Reporter

Evening of Excellence: 2019 Scientific and Technical Achievement Awards

Jay Holben
February 21, 2019
The American Society of Cinematographers

How David Fincher and ‘Panic Room’ Helped Launch a SciTech Award Recipient

Pix was initially developed to help ‘Panic Room‘s’ sound team.

Carolyn Giardina
February 9, 2019
The Hollywood Reporter

The familiar Pix app is one of the early tools with security features developed to improved communication and collaboration during production, which was initially conceived as filmmaking became more distributed geographically. After being used on more than 5,000 film and TV projects including Black Panther, Bohemian Rhapsody and Mindhunter, its developers will be among those honored Saturday at the Academy of Motion Picture Arts and Sciences’ annual Scientific and Technical Awards.

Pix founder/CEO Eric Dachs — who with director of R&D Erik Bielefeldt, technical director Craig Wood and Paul McReynolds will receive Technical Achievement Awards — started his career in sound and it was while working as an assistant to seven-time Oscar nominated sound designer Ren Klyce on David Fincher’s 2002 film Panic Room that the idea for Pix was born. “I got a look at how digital technology was changing motion picture postproduction, but I also saw the inefficiency from faxing notes when the work was distributed geographically,” Dachs tells The Hollywood Reporter. “I started writing a really simple prototype application for capturing David’s spotting notes and getting them distributed to the crew via a simple web application. So that [composer Howard Shore] could get the music notes in real time, and the different departments within sound were no longer having to wait for faxes.”

One afternoon during the final mix, Klyce showed Fincher the app and the technically-savvy director was impressed. In fact, he continues to use it today.

Read the full profile

Dachs ’98 Receives Sci-Tech Oscar for PIX System

Cynthia Rockwell
March 4, 2019
Wesleyan University

The Academy of Motion Picture Arts and Sciences (AMPAS) honored Eric Dachs ’98, the founder and CEO of PIX System, with a Technical Achievement Award at its Oscars 2019 Scientific and Technical Awards Presentation on Feb. 9, 2019.

Since its creation in 2003, PIX System has become the entertainment industry gold standard in providing secure communication and content management capabilities. Dachs, a theater major while at Wesleyan, designed and coded the initial software early in his career when he was an assistant to sound designer Ren Klyce for Panic Room. It was then that he saw the need for an easy, safe digital platform to share revisions and collaborate across locations.

Read the full profile

PIX, the only addiction I have left.”
David Fincher

PIX System

The Creator of Netflix’s ‘Mindhunter’ Is Already Thinking Past Season 2

“We’re working as fast as we can,” Joe Penhall tells Inverse.

Jake Kleinman
January 17, 2019
Inverse

Joe Penhall has been keeping busy. In between researching and writing Mindhunter Season 2, he also had time to pen King of Thieves, a new movie out next week about a group of elderly British burglars. But we couldn’t resist asking about his hit Netflix show, and, in an interview, Penhall tells Inverse approximately when we can expect Mindhunter Season 2 to arrive along with his plans for Season 3 and beyond. (Listen to the interview in the video above, if you can stand the sound of my rapid note-taking throughout.)

You might think that, as series creator, Penhall would be heavily involved with the editing process, but once filming wrapped in December 2018 he was essentially finished with Mindhunter Season 2.

“The editing process is quiet for me because David Fincher locks himself away and doesn’t really want to share with anybody,” Penhall says. “And I don’t particularly need to see things half finished.”

He added that Season 1 took about “6 months of 8 months” to edit, suggesting that Mindhunter Season 2 could see a similar timeline, only faster.

“We’re working as fast as we can,” he says. “There’s only eight episodes in this one [down from 10 in Season 1]. So he doesn’t have quite as much to do.”

Read the full profile and listen to the interview

When will Mindhunter season 2 be released? Here is what its creator told us

Joe Penhall also talks Charles Manson, his 5 season plan and admits he almost passed out at FBI’s museum of death.

Gregory Wakeman
January 22, 2019
Metro (US)

Mindhunter creator Joe Penhall is hopeful that the second season of the Netflix show will be released by the end of 2019, although he admits that all depends on director David Fincher.

Shooting on Mindhunter season 2 finished “about a month ago,” but when it comes to its release date Penhall says, “I don’t know because that’s always up to David. He kind of goes into editing and he doesn’t talk to anybody until he comes out again.”

“I would hope that would be by the end of this year but I just don’t really know. Yeah and he’s a rule breaker and he wants to do it on his own with his own schedule.”

Read the full profile

5 Visual Aesthetics of David Fincher’s MINDHUNTER: A Video Essay

Vashi Nedomansky
November 28, 2018
VashiVisuals

“I thoroughly enjoyed the visual sensibilities and filmmaking techniques used in the first season of  Mindhunter on Netflix. Here are 5 of my favorite cinematography and film editing techniques that I feel made it a very distinctive show. Created and directed by David Fincher, he used many of the stylistic choices from his feature films such as dark cinematography and glass-like camera movement but also added some new tools to his arsenal as well.”

More by Vashi Nedomansky:

All 25 Subliminal Shots in David Fincher’s MINDHUNTER Title Sequence

Color Grading Netflix’s Mindhunter

Eric Weidt, Dolby’s Thomas Graham, and Netflix’s Chris Clark at an HDR presentation.

A look at the show’s unique HDR look and workflow

David Alexander Willis (Twitter, Instagram)
June 2018
Post Magazine

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.

2018-06. Post - Color Grading Netflix_s Mindhunter 00

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, Dolbyand 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. Mindhunters 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.”

2018-06. Post - Color Grading Netflix_s Mindhunter 02


Areas of focus circled using PIX.

2018-06. Post - Color Grading Netflix_s Mindhunter 03


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.

Mindhunter 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.

This article was published in the June 2018 issue of Post Magazine

2018-06. Post - Color Grading Netflix_s Mindhunter 04