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  1. #1 Mindhunter 
    Senior Member Christoffer Glans's Avatar
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    Just watched through them all and I have to give a big set of applause to Christopher Probst and Erik Messerschmidt (and Fincher, although not here) for their fantastic work. It's one of the best looking things I've seen shot on Red and this is "only a TV-series".

    Would be nice to hear closer in detail about the process and post-process of the show. There's some nice tricks throughout, from the subtle post-anamorphic manipulation to the nice tricks in the end which looked really cool (you know the ones).

    Masterful!
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  2. #2  
    Senior Member Samir Patel's Avatar
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    Just watched the first episode. Looked great. Saving the rest for later. Loved the opening titles too. Was wondering about those flares in the teaching/projector scenes.
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  3. #3  
    Senior Member Daniel Stilling's Avatar
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    Just saw the 3 first episodes.
    There is some thought out, well crafted camera work in every single frame. Love that Probst used some glass to "dirty up" the very clean look from the Sumilux'es. IMHO they are so very clean that they get so very boring to me. Love the grade too. Glad it's not "teal and orange"...
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  4. #4  
    Senior Member Christoffer Glans's Avatar
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    Quote Originally Posted by Daniel Stilling View Post
    Just saw the 3 first episodes.
    There is some thought out, well crafted camera work in every single frame. Love that Probst used some glass to "dirty up" the very clean look from the Sumilux'es. IMHO they are so very clean that they get so very boring to me. Love the grade too. Glad it's not "teal and orange"...
    From what I know, they did the "dirty up" in post, which is something I really want to get some insight into :)
    Fincher usually do super clean, good acquisition and have major post-work on it.
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  5. #5  
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    Looks fantastic - there is a scene in a car, another interview in a dark room and one in an alley that look particularly great.
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  6. #6  
    Senior Member Daniel Stilling's Avatar
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    Quote Originally Posted by Christoffer Glans View Post
    From what I know, they did the "dirty up" in post, which is something I really want to get some insight into :)
    Fincher usually do super clean, good acquisition and have major post-work on it.
    Hmm, interesting. It looks very optical to me, but real kudos if they did all that in post. Hats off to them either way.
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  7. #7  
    A bit over done streak filter or post lens flares in the beginning for my taste. but I only saw them in the beginning so they must have stopped using them or I got used to it. But that is my only little complaint I can come up with regarding the camera work. For the rest of it image looks stellar all the way trough.

    With the nice settled and thought trough camera moves I possibly would have liked it even more on anamorphics.

    I thought with those specially made cameras and all that this would be an "shot from the shoulder" kind of film but I'm glad to see that it was not feels very Finsher in that sense, no unnecessary camera moves and a perfectly leveled horizon all the way trough.
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  8. #8  
    Senior Member Bob Gundu's Avatar
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    Love the show. Looks like some barrel distortion was added in post?
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  9. #9  
    Senior Member Christoffer Glans's Avatar
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    Quote Originally Posted by Björn Benckert View Post
    A bit over done streak filter or post lens flares in the beginning for my taste. but I only saw them in the beginning so they must have stopped using them or I got used to it. But that is my only little complaint I can come up with regarding the camera work. For the rest of it image looks stellar all the way trough.

    With the nice settled and thought trough camera moves I possibly would have liked it even more on anamorphics.

    I thought with those specially made cameras and all that this would be an "shot from the shoulder" kind of film but I'm glad to see that it was not feels very Finsher in that sense, no unnecessary camera moves and a perfectly leveled horizon all the way trough.
    It's used througout. From what I know, it's shot on Leica Summiluxes and then reframed/stabilized in post and then applied into the final aspect ratio. Within this aspect ratio, the image has been manipulated to look like the curved characteristics of anamorphic lenses together with chromatic aberrations to simulate older 70's lenses. Reason for not using real anamorphic lenses is the limited abilities to manipulate the image in post and well, Fincher doesn't like anamorphic lenses. Look at the edges of the frames throughout. Summilux does not have that curvature and CA. Most of the post stabilization and similar wouldn't be possible without spherical clean lenses in acquisition.

    Handheld on a Fincher production is very very rare if at all. There's a shot in the end that has fantastic use of hand held which goes straight into a stable dolly shot. I'm not sure how this is done, if they shot it handheld and post stabilized or if they shot it on a dolly and faked the handheld shakings. But the transition is very cool in terms of storytelling for that segment.

    Quote Originally Posted by Bob Gundu View Post
    Love the show. Looks like some barrel distortion was added in post?
    And chromatic aberration
    "Using any digital cinema camera today is like sending your 35mm rolls to a standard lab. -Using a Red is like owning a dark room."
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  10. #10  
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    Looks great, that Weapon is on another level
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