The minds behind David Fincher’s Mindhunter

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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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“75,000 feet of Rushes Discovered in a Vault”

George Michael – Freedom ’90 Music Video Outtakes

George Michael VEVO
Published on 26 Sep 2017
YouTube

Thanks to Joe Frady

 

TRAILER | George Michael: Freedom | Coming Soon

Channel 4
Published on Sep 15, 2017
YouTube

The documentary will air on October 16 on Channel 4 and on October 21st on Showtime.

 

George Michael – Freedom! ’90 (Official Video)

George Michael VEVO
Published on Oct 2, 2009
YouTube

Directed by David Fincher
Director of Photography: Mike Southon, BSC

VES 70: The Most Influential Visual Effects Films of All Time

10 years after releasing the “VES 50: The Most Influential Visual Effects Films of All Time“, a list voted by its members, the Visual Effects Society (VES) has celebrated its 20th anniversary with an expanded list (of 72 films in total, due to ties), which now includes The Curious Case of Benjamin Button (2008):

300 (2007), 2001: A Space Odyssey (1968), 20,000 Leagues Under the Sea (1954), A Trip to the Moon (1902), The Abyss (1989), Alien (1979), Aliens (1986), An American Werewolf in London (1981), Apollo 13 (1995), Avatar (2009), Babe (1995), Back to the Future (1985), Blade Runner (1982), Citizen Kane (1941), Close Encounters of the Third Kind (1977), The Curious Case of Benjamin Button (2008), Darby O’Gill and the Little People (1958), The Day the Earth Stood Still (1951), District 9 (2009), E.T. the Extraterrestrial (1982), The Empire Strikes Back (1980), Ex Machina (2015), Fantastic Voyage (1966), The Fifth Element (1997), Forbidden Planet (1956), Forrest Gump (1994), Gertie the Dinosaur (1914), Ghostbusters (1984), Godzilla (1954), Gravity (2013), Inception (2010), Independence Day (1996), Jason and the Argonauts (1963), Jaws (1975), Jurassic Park (1993), King Kong (1933), King Kong (2005), Life of Pi (2012), The Lord of the Rings: The Fellowship of the Ring (2001), The Lord of the Rings: The Return of the King (2003), The Lord of the Rings: The Two Towers (2002), The Lost World (1925), Mad Max: Fury Road (2015), Mary Poppins (1964), The Mask (1994), The Matrix (1999), Metropolis (1927), Pirates of the Caribbean: Dead Man’s Chest (2006), Planet of the Apes (1968), Raiders of the Lost Ark (1981), Return of the Jedi (1983), Rise of the Planet of the Apes (2011), The Seventh Voyage of Sinbad (1958), Sin City (2005), Snow White and the Seven Dwarfs (1937), Star Wars (1977), Starship Troopers (1997), Superman: The Movie (1978), The Ten Commandments (1956), The Terminator (1984), Terminator 2: Judgment Day (1991), The Thing (1982), Titanic (1997), Total Recall (1990), Toy Story (1995), Tron (1982), Transformers (2007), Young Sherlock Holmes (1985), The War of the Worlds (1953), The Wizard of Oz (1939), What Dreams May Come (1998), Who Framed Roger Rabbit (1988).

VES Board Chair Mike Chambers said:

“The VES 70 represents films that have had a significant, lasting impact on the practice and appreciation of visual effects as an integral element of cinematic expression and storytelling.”

“We see this as an important opportunity for our members, leading visual effects practitioners worldwide, to pay homage to our heritage and help shape the future of the global visual effects community. In keeping with our mission to recognize and advance outstanding art and innovation in the VFX field, the VES 70 now forms a part of our legacy that we can pass down to future generations of filmmakers as a valuable point of reference.”

Visual Effects Society (vimeo)
September 11, 2017
vimeo

The Game and Fincher’s Perfect Lonely Protagonist

Christopher Aguiar
August 31, 2017
Audiences Everywhere

Much is said about David Fincher’s obsession with detail, every frame having to believably exist in the world he has created. Furthermore, this attention to detail extends beyond visual narrative storytelling. It also commands every protagonist Fincher has ever brought to life.

One character in particular most mirrors Fincher’s own obsession with perfection—Michael Douglas’ Nicholas van Orton. In The Game, Douglas portrays a character so seduced by the compulsion to maintain his lavish lifestyle that he has subjected himself to a lonely state of living.

It is within the character of van Orton that Fincher brings to life his most honest portrayal of loneliness. Whereas in Gone Girl we were shown loneliness through the prism of married life, or within Fight Club by the shackles of a consumerist society, The Game projects loneliness in its truest form. Unless others place themselves in the same vicinity as van Orton, our protagonist never engages with humanity. He is as internally isolated as he is externally.

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Mr Nerdista
Published on Aug 30, 2017
YouTube

Art of the Title: Angus Wall & Elastic

Art of the Title: Angus Wall

Art of the Title: Elastic

In Studio Partners:

Design: Elastic
Editorial: Rock Paper Scissors
VFX: a52

Still Image: Joe LaMattina

Tim Miller Talks Leaving Deadpool 2, The Goon Movie, & Goes Comic Book Shopping

ColliderVideos
Published on Jul 26, 2017
YouTube

Watch: Tim Miller Talks ‘The Goon’ Movie, Leaving ‘Deadpool 2’, and Goes Comic Book Shopping

By Adam Chitwood
July 26, 2017
Collider

In a new episode of Comic Book Shopping, we’re joined by Deadpool director and Blur Studios co-founder Tim Miller to talk comics, his career, leaving Deadpool 2, an encouraging update on The Goon movie, and his next project. If you like comics and celebrity interviews, this is your show. Each week we’re joined by a new guest, who hits up a local comic book shop with host Jon Schnepp and peruses the wares while also discussing their career, upcoming projects, and of course their favorite comic books.

In this week’s episode, Schnepp and Tim Miller venture to Miller’s local shop Comic Bug in Culver City, where they discuss how Miller got his career started, how he founded the visual effects, animation, and design company Blur Studios, and his early work creating unforgettable cut scenes for video games like DC Universe Online and Star Wars: The Old Republic. Miller also reveals how he landed the job of directing Deadpool, the long road to finally getting the movie made, and briefly touches on his exit from Deadpool 2.

During the conversation, Miller also gives a tantalizing update on The Goon movie that he’s been developing for years, saying there’s going to be an announcement soon and teasing their take on the movie (hint: it’s Goodfellas meets Army of Darkness). Miller also says he hopes to be shooting a new “big movie” next year, which may or may not be a new Terminator film.

Check out the full conversation in the video above, where Miller’s love for comics shines bright as he explains how he gets a pull list from Comic Bug each week. If you missed our previous episodes, check out the link: Comic Book Shopping (YouTube)

Art of the Title: David Fincher

David Fincher: A Film Title Retrospective

August 27, 2012
Art of the Title