American Cinema Editors (YouTube)
May 6, 2018
Editors on Editing: Glenn Garland, ACE talks to Kirk Baxter, ACE about editing the film, GONE GIRL.
Billy Peake & Tyler Nelson, “MINDHUNTER” Post-Production Team
April 9, 2018
Adobe Creative Cloud (YouTube)
Dispatch by PIX System
Thanks to Jonny Elwyn
Tyler Nelson and Billy Peake made extensive use of the Adobe suite including Premiere Pro
I don’t do a lot of interviews with editors, that’s the domain of Steve Hullfish and his legendary ART OF THE CUT series but when I saw that Adobe had some editors available for a chat at NAB 2018 I thought … why not. I had done some audio interviews before at NAB and I figured posting an audio interview to Soundcloud was a lot more likely to happen during a busy NAB week than trying to shoot and edit video (I did that one year with an iPad) or take a lot of photos and write up articles on what I saw.
In addition to serving as co-executive producer for Mindhunter, Fincher directed four hours of the 10-episode season.
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.
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.
Patrick Harbron / Netflix
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.’
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.