Thread: Mindhunter season 2

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  1. #1 Mindhunter season 2 
    Senior Member Aaron Green's Avatar
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    I’ve seen posts from Eric Messerschmidt’s IG tagging Helium 8k for season 2, but unlike season 1’s Leica glass, it looks like they moved to anamorphics. Anyone have any insight on their lens choices?
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  2. #2  
    Moderator Phil Holland's Avatar
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    The flares tricked you in major ways.

    Look at the bokeh and it tells a tale.

    Fairly certain here, but it's Leica Summilux-C on Helium 8K (likely both Xenomorph and DSMC2 bodies used) with not only flare added in post, but also lens distortion to better fit the optics of the era.

    I binged the whole bloody thing on Friday and it was a great season, a little surprised by it actually.

    Personal take, a masterclass in pacing of dialogue scenes. Really nice wides, especially with the cars. The sound design was absolutely stellar as well.
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  3. #3  
    Senior Member Aaron Green's Avatar
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    Yeah, the distortion is what threw me off. Interesting.
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    Quote Originally Posted by Phil Holland View Post
    The flares tricked you in major ways.

    Look at the bokeh and it tells a tale.

    Fairly certain here, but it's Leica Summilux-C on Helium 8K (likely both Xenomorph and DSMC2 bodies used) with not only flare added in post, but also lens distortion to better fit the optics of the era.

    I binged the whole bloody thing on Friday and it was a great season, a little surprised by it actually.

    Personal take, a masterclass in pacing of dialogue scenes. Really nice wides, especially with the cars. The sound design was absolutely stellar as well.
    interesting, I know Fincher does heavy post on cleaning up frames, from equipment or even a tree branch he doesnt like, but adding an anamorphic flare? strange for him, especially since they didnt add anything to the beauty of the shots. strange to me coming from him.
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    Quote Originally Posted by jordan levy View Post
    interesting, I know Fincher does heavy post on cleaning up frames, from equipment or even a tree branch he doesnt like, but adding an anamorphic flare? strange for him, especially since they didnt add anything to the beauty of the shots. strange to me coming from him.
    The first season had heavy distortion and fake anamorphic flares, too, and heavy chromatic aberration added in post. I thought the pilot was beautifully lit and composed, and of course the direction was very strong, but I wasn't a fan of the fake anamorphic look at all.

    But Fincher has been using fake anamorphic flares (almost as questionably imo) since at least Zodiac, where they show up in some night exteriors. I love that movie, but felt it didn't need them. Maybe it covered for some dodgy comp work, though I thought the comp work in the night exteriors was superb... maybe since they was covering for it lol.
    Last edited by Matt W.; 08-18-2019 at 11:03 AM.
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  6. #6  
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    I was watching this last night and said the same thing to my wife, it was just weird to see the distortion. But the bokeh explained it .
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  7. #7  
    Moderator Phil Holland's Avatar
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    Quote Originally Posted by jordan levy View Post
    interesting, I know Fincher does heavy post on cleaning up frames, from equipment or even a tree branch he doesnt like, but adding an anamorphic flare? strange for him, especially since they didnt add anything to the beauty of the shots. strange to me coming from him.
    I don't remember when he started doing it exactly, but he certainly did it in Girl with the Dragon Tattoo, though a different flare. Anamorphic flare was an interesting choice here, and for the experienced eye noticing the bokeh didn't line up it was maybe distracting. For the general audience, they were just like "oh man those police lights, this is big".

    I do see art directing/VFX of flare as adding to the beauty of the shot. He's 100% not the first to do it in the industry, but he is using it much more often and noticeably.

    The only thing that really stood out to me was the gate weave effect on the titles didn't match up with the footage it was placed on top of, but I think it was also a node to the optical title days and common from films of the era.

    He and his team or mostly designing their own visual language that lands or ping pongs between vintage and modern to present the show. Because I'll tell you now, camera movement back then was nowhere near that good :)

    Without spoiling it much, I do hope they revisit specifically 1-3 of the locked up peeps in Season 3. 2 stood out to me as delicious appetizers, 1 was like a dessert you didn't order, but you absolutely want to order another one after eating it. I enjoy the general writing and journey of the characters and the psychological aspects each of them being focused on this season. Season 1 felt like a really nice wrap up, Season 2 lets the sting linger and sort of just makes you want to jump into Season 3.
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  8. #8  
    Senior Member Bob Gundu's Avatar
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    Fincher did say that the post lens distortions are also helping define the different eras. He said the characteristics of the lenses will
    Change over time.
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    Here's a link to some comments from noted Light Iron colorist Ian Vertovec about the look of the show:



    https://thefincheranalyst.com/2019/0...david-fincher/
    marc wielage, csi • colorist/post consultant • daVinci Resolve Certified Trainer
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  10. #10  
    Member Sebastian Bjork's Avatar
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    Fincher added anamorphic flares in Panic Room sequences - shot on spherical lenses.

    In Gone Girl commentary he said "I added it just to f*ck with people".
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