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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Mindhunter

Christoffer Glans

Christoffer Glans

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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! :thumbup:
 
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"...
 
Daniel Stilling said:
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"...
Click to expand...

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.
 
Looks fantastic - there is a scene in a car, another interview in a dark room and one in an alley that look particularly great.
 
Christoffer Glans said:
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.
Click to expand...

Hmm, interesting. It looks very optical to me, but real kudos if they did all that in post. Hats off to them either way.
 
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.
 
Björn Benckert said:
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.
Click to expand...

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.

Bob Gundu said:
Love the show. Looks like some barrel distortion was added in post?
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And chromatic aberration
 
Mestizo Devon said:
Looks great, that Weapon is on another level
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It's not really, not in terms of sensor and color science. It's a regular Dragon 6K. The Xenomorph itself is made to include all side equipment you usually have to hang onto the camera. If you own your own Dragon 6K Weapon you would be able to get the same result (if your on the level of Fincher, Probst and Messerschmidt)
 
Christoffer Glans said:
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.



And chromatic aberration
Click to expand...

I know Fincher does not do much shoulder stuff but I just made the assumption when seeing the specially made cameras that this show would be different in that regard, but I guess not as 99% seams to be dolly, crane steady etc. And Yes, I read all about finches reframing and look around approach, but to me anamorphic simply looks better than non anamorphic´s framed right trying to look like anamorphic, but thats just me.
 
Some solid writing and acting here. Worth a watch
 
Björn Benckert said:
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.
Click to expand...

Except for the Edgar Wright tribute in the second episode during the life on the road sequence ;-)
 
Zeb B said:
Except for the Edgar Wright tribute in the second episode during the life on the road sequence ;-)
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The fast cut graphic montage really interested me as I wasn't sure I had seen it in his other work?... did feel it was part of his tool box..unlike his chum Soderbergh who will happily chuck in a jazzy montage to move things on..

I felt the use of very modern pristine glass (manipulated with the addition of certain artefacts) was sympathetic with the overall art direction approach where everything that would have been new then looked pristine now..
 
Would love insight into that last shot with shake to smooth as well. at first I thought it was just steadicam meant to look handheld shaky into steadicam smooth.
 
This show is really fantastic. About halfway through the season right now. The acting, directing and cinematography are spot on.
 
Watched the first two episodes and I am completely hooked. Love the overall look of the show, well done Christopher.
 
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