PRODUCTION AND POST at 6K resolution but framed for a 5K extraction, leaving a lot of “padding” around the edges for image reposition and stabilisation, which is done a lot on Fincher’s projects. In fact, nearly all of the moving footage is stabilised. All camera footage is processed into EXR image sequences in addition to ProRes editing files for ‘offline’ editing. These ProRes files also get an added camera LUT so everyone sees a good representation of the colour correction during the editing process. One change from past projects was to bring colour correction in-house. The final grade is handled by Eric Weidt on a FilmLight Baselight X unit, which sources from the EXR files. The final Netflix deliverables are 4K/HDR masters. Pushing a lot of data through a facility requires robust hardware systems. The editors use 2013 (“trash can”) Apple Mac Pros connected to an Open Drives shared storage system. This high-end storage system was initially developed as part of the Gone Girl workflow and uses storage modules populated entirely with SSDs (as opposed to spinning disk drives). THE FEATURE FILM APPROACH Unlike most TV series, which deliver a new episode each week, Netflix releases all episodes of a show’s season at once, which changes the dynamic of how episodes are handled in post. Nelson continues: “We were able to treat this like one long feature film. In essence, each episode is like a reel of a film. There are ten episodes and each is 45 minutes to an hour long. We worked it as if it were an eight-and-a-half- to nine-hour long movie.” Skywalker Sound did all the sound post after a cut was locked. Nelson adds: “Most of the time we handed off locked cuts, but sometimes when you hear the cleaned up sound, it can highlight issues with the edit that you didn’t notice before.” As Adobe gains prominence in the world of dialoguedriven entertainment, a number of developers are coming up with speech-to-text solutions compatible with Premiere Pro. These tools potentially provide Adobe editors a function similar to Avid’s ScriptSync. Would something like this have been beneficial on Mindhunter, a series based on extended interviews? Nelson says, “I like to work with the application the way it is. I try not to get too dependent on any feature that’s very specific or unique to a single piece of software. I don’t even customise my keyboard settings too much, just so it’s easier to move from one workstation to another. I like to work from sequences, so I don’t need a special layout for the bins or anything like that.” “On Mindhunter, we used the same ‘KEM roll’ system as on the films, which is a process that Kirk Baxter and Angus Wall [editor on Zodiac, The Curious Case of
Benjamin Button, The Social Network] prefer to use,” Nelson continues. “All of the coverage for each scene setup is broken up into ‘story beats.’ In a ten-minute take for an interview, there might be 40 ‘beats.’ These are all edited in the order of last take to first take, with any ‘starred’ takes at the head of the sequence. This way you will see all of the coverage, takes and angles for a beat before moving on to the group for the next beat. As you review the sequence, the really good sections of clips are moved up to video track two on the sequence. Then we create a new sequence organised in story order from these selected clips and start building the scene. At any given time you can go back to the earlier sequences if the director asks to see something different than what’s in your scene cut. This method works with any NLE, so you don’t become locked into one and only one software tool. “Where Adobe’s approach is very helpful to us is with linked After Effects compositions,” continues Nelson. “We do a lot of invisible split-screen effects and shot stabilisation. Those clips are all put into After Effects comps using Dynamic Link so that an assistant can go into After Effects and do the work. When it’s done, the completed comp just pops back into the timeline. Then ‘render and replace’ for smooth playback.” THE CHALLENGE Certainly a series like this can be challenging for any editor, but how did Nelson take to it? He says, “I found every interview scene to be challenging. You have an eight- to ten-minute interview that needs to be interesting and compelling. Sometimes it takes two days just to get through looking at the footage for a scene like that. You start with ‘How am I going to do this?’ Somewhere along the line you get to ‘this is totally working,’ and you don’t always know how you got to that point. It takes a long time, approaching the footage in different ways until you can flesh it out. I really hope people enjoy the series. These are dramatisations, but real people actually did these terrible things. Certainly that creeps me out, but I really love this show and I hope people will see the craftsmanship that’s gone into Mindhunter and enjoy the series.” In closing, Nelson offered these thoughts. “I’ve gotten an education each and every day. Lots of editors haven’t figured it out until well into a long career. I’ve learned a lot being closer to the creative process. I’ve worked with David Fincher for almost 11 years. You think you are ready to edit, but it’s still a challenge. Many folks don’t get an opportunity like this and I don’t take it lightly. Everything that I’ve learned working with David has given me the tools and I feel fortunate that the producers had the confidence in me to let me cut on this amazing show.” n
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