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.
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
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.
“PIX, the only addiction I have left.”
— David Fincher
February 9, 2019
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.
February 10, 2019
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)
February 9, 2019
The Hollywood Reporter
How David Fincher and ‘Panic Room’ Helped Launch a SciTech Award Recipient
Pix was initially developed to help ‘Panic Room‘s’ sound team.
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.
Dachs ’98 Receives Sci-Tech Oscar for PIX System
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.
“PIX, the only addiction I have left.”
— David Fincher
“We’re working as fast as we can,” Joe Penhall tells 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.”
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.
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.”
“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:
Eric Weidt, Dolby’s Thomas Graham, and Netflix’s Chris Clark.
A look at the show’s unique HDR look and workflow
Each Mindhunter hour-long show (from the 10-episode run) was graded using FilmLight’s Baselight color grading tools 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 David Fincher.
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. “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 Hollywood’s Dolby Cinema Old Vine theatre.
“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” 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, and create offline files to view on an iPad or monitor.
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.
Weidt’s starting point for dailies, as well as any color work on the master, began with a low-contrast log curve that maintained as much of the dynamic range provided by the Red Xenomorph camera as possible, and gave the SDR monitoring on set an approximation of Weidt’s HDR workflows.
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.”
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.
Areas of focus
After the grade
“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.”
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.
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.
“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 Messerschmidt.”
This is an abridged version of the full in-depth article available in the June issue of Post Magazine
Another comprehensive article by Spanish DP, Producer and cinematography scholar Ignacio Aguilar, this time on the cinematography of Zodiac. Time to practice your rusty Spanish or get help from a good web translator.
Excepcional adaptación cinematográfica del libro de Robert Graysmith, basado en su propia investigación sobre los asesinatos cometidos en la zona de San Francisco a finales de la década de los 60 y comienzos de los 70, por un asesino que además enviaba cartas a los períodicos, anunciando sus planes y próximas víctimas. El film está protagonizado, además de por el propio Graysmith (interpretado por Jake Gyllenhaal), por su compañero en el San Francisco Chronicle, Paul Avery (Robert Downey, Jr.) y por el detective de homicidios Dave Toschi (Mark Ruffalo), los cuales uno a uno, se van obsesionando por el caso que les ocupa a medida que profundizan en el mismo y creen encontrarse cerca de resolverlo. Se trata quizá del mejor y más sólido trabajo de David Fincher detrás de las cámaras, quien deja de lado su conocida solvencia técnica y se lanza a narrar minuciosamente todo lo concerniente al caso que inspiró películas como “Dirty Harry” (1971), tomando una estructura y formas muy parecidas a las de una de sus películas de referencia: “All The President’s Men” (Alan J. Pakula, 1976), escrita por William Goldman y protagonizada por Dustin Hoffman y Robert Redford. Anthony Edwards, Chloe Sevigny, Elias Koteas, John Carroll Lynch y Brian Cox, entre otros, completan el reparto de un film absolutamente modélico.
El director de fotografía fue Harris Savides [ASC], un hombre cuya carrera en cine, entre su tardía llegada y su prematuro fallecimiento por un cáncer cerebral a los 55 años de edad en el año 2012, desgraciadamente fue demasiado corta. Procedente de los videoclips y de los anuncios publicitarios, debutó en 1996 con “Heaven’s Prisoners” a las órdenes de Phil Joanou. Ya el año anterior había rodado metraje adicional para David Fincher en “Se7en” (1995), quien le contrató para su siguiente film, “The Game” (1997), la película que puso a Savides en el mapa. Posteriormente destacó mucho con “The Yards” (James Gray, 2000) y con varios trabajos para Gus Van Sant: “Finding Forrester”, “Gerry”, “Elephant”, “The Last Days” y “Milk”, además de por su trabajo para Jonathan Glazer en “Birth”. Además tuvo tiempo para colaborar con Ridley Scott en “American Gangster”, con Woody Allen en “Whatever Works” o con Sofia Coppola en “Somewhere”. Su estilo, muy sencillo y poco recargado, a menudo estaba dominado por la subexposición y la luz cenital, a veces asumiendo grandes riesgos, siguiendo en muchos aspectos la línea de Gordon Willis durante la década de los 70.
Savides por lo tanto era el director de fotografía ideal para Fincher en este proyecto, ya que el citado modelo “All The President’s Men” precisamente fue fotografiado por el autor de “The Godfather”. Ambientada desde finales de los años 60 hasta principios de los 80, “Zodiac” sorprendió mucho porque fue el primer proyecto de David Fincher rodado en formato digital y porque hasta aquél momento, dicha forma de adquisición se había empleado principalmente en películas como “Attack of the Clones” (2002) y “Revenge of the Sith” (2005), “Collateral” (2004) y “Miami Vice” (2006) o incluso “Apocalypto” y “Superman Returns” (2006), sin que ninguna de ellas (dejando de lado del film de Gibson) fueran películas de época. Savides (ante la insistencia de Fincher) recurrió a la cámara Thomson Viper Filmstream, la misma usada por Michael Mann en las dos películas citadas anteriormente, pero a diferencia del director de “The Last of the Mohicans”, en el caso de “Zodiac” los cineastas no lo hicieron para rodar con niveles de luz muy bajos o luz disponible, sino que rodaron en HD iluminándolo de forma muy parecida a como lo hubiesen hecho rodando en 35mm. Por ello, el efecto vídeo de las películas de Mann, tanto por la textura de la imagen como por emplear el obturador abierto, no está presente en absoluto en “Zodiac”, que en muchas ocasiones es mencionada como un hito precisamente porque su estética digital fue la primera que demostró que en este formato podían seguir obteniéndose imágenes de parecida calidad a las que se conseguían con el celuloide. Y aunque la Viper era una cámara limitada (con un sensor pequeño y no tanta latitud como las modernas) lo cierto es que prácticamente nunca se perciben dichas limitaciones.