WEBVTT 1 00:00:00.375 --> 00:00:02.250 Welcome to the Colour Timer Podcast. 2 00:00:02.250 --> 00:00:04.125 I am your host Vincent Taylor. 3 00:00:04.125 --> 00:00:05.125 This is the podcast where 4 00:00:05.125 --> 00:00:06.291 we speak to professionals 5 00:00:06.291 --> 00:00:07.916 who work with colour. 6 00:00:07.916 --> 00:00:09.416 Today we are absolutely doing that. 7 00:00:09.416 --> 00:00:11.250 We're speaking to Mr. Eric Weidt, 8 00:00:11.250 --> 00:00:13.625 a colourist for film and television, 9 00:00:13.625 --> 00:00:14.583 directly associated 10 00:00:14.583 --> 00:00:16.458 with Mr. David Fincher, 11 00:00:16.458 --> 00:00:18.750 of whom I'm a huge fan. 12 00:00:18.750 --> 00:00:21.041 I can't wait to chat to Eric about 13 00:00:21.041 --> 00:00:22.583 projects such as Mank. 14 00:00:22.583 --> 00:00:23.166 We haven't really 15 00:00:23.166 --> 00:00:24.125 talked about black and white 16 00:00:24.125 --> 00:00:25.166 much in the show yet, so 17 00:00:25.166 --> 00:00:27.000 I really wanna do that. 18 00:00:27.000 --> 00:00:27.750 And also get under the 19 00:00:27.750 --> 00:00:29.666 hood if we've got time 20 00:00:29.875 --> 00:00:30.916 into the world of Mindhunter, 21 00:00:30.916 --> 00:00:33.625 which is an amazing series and colourful. 22 00:00:33.625 --> 00:00:35.041 Ah, I wanna jump into that. 23 00:00:35.041 --> 00:00:35.791 Don't forget, we're 24 00:00:35.791 --> 00:00:37.416 gonna use our colour timer, 25 00:00:37.416 --> 00:00:39.541 our 15 minute sand timer, 26 00:00:39.541 --> 00:00:40.208 just to keep the 27 00:00:40.208 --> 00:00:44.416 conversation focused, but let's go. 28 00:00:44.416 --> 00:00:46.250 Take your seats because the 29 00:00:46.250 --> 00:00:49.041 hourglass is about to turn. 30 00:00:49.041 --> 00:00:50.500 We are entering the 31 00:00:50.500 --> 00:00:53.708 world of the micro podcast. 32 00:00:53.708 --> 00:00:56.375 Explore the craft, creativity, 33 00:00:56.375 --> 00:00:57.875 and science of 34 00:00:57.875 --> 00:00:59.375 professionals who use colour 35 00:00:59.541 --> 00:01:01.791 to tell stories. 36 00:01:01.791 --> 00:01:03.875 Welcome to the colour 37 00:01:03.875 --> 00:01:16.291 timer with Vincent Taylor. 38 00:01:16.291 --> 00:01:17.333 Eric, welcome. 39 00:01:17.333 --> 00:01:17.916 Thank you, Vincent. 40 00:01:17.916 --> 00:01:19.916 It's nice to be here. 41 00:01:19.916 --> 00:01:21.666 I'm very excited to talk to you. 42 00:01:21.666 --> 00:01:23.083 A little bit nervous 43 00:01:23.083 --> 00:01:24.125 because I'm a big fan. 44 00:01:24.125 --> 00:01:26.166 No, not possible. 45 00:01:26.583 --> 00:01:32.041 Oh, calm, just breathe, just breathe. 46 00:01:32.041 --> 00:01:33.416 Nine times out of 10, I 47 00:01:33.416 --> 00:01:34.750 forget to start my sand timer. 48 00:01:34.750 --> 00:01:36.458 So I'm gonna be a good boy. 49 00:01:36.458 --> 00:01:38.291 Here's my sand timer. 50 00:01:38.291 --> 00:01:39.375 So we're gonna kick it off. 51 00:01:39.375 --> 00:01:40.833 So it's like a game show, 52 00:01:40.833 --> 00:01:43.375 you know, like under pressure. 53 00:01:43.375 --> 00:01:45.250 Okay, I've got a great 54 00:01:45.250 --> 00:01:46.291 warm up question for you. 55 00:01:46.291 --> 00:01:47.500 You ready? 56 00:01:47.500 --> 00:01:49.958 Your desert island film or TV series. 57 00:01:49.958 --> 00:01:52.375 Oh, you're stuck on a, and I know, 58 00:01:52.375 --> 00:01:53.083 I know there's no 59 00:01:53.083 --> 00:01:54.041 electricity on the desert island, 60 00:01:54.041 --> 00:01:54.666 but let's just-- 61 00:01:54.958 --> 00:01:57.041 Do you want to give them a standpoint of colour 62 00:01:57.041 --> 00:01:59.541 or just enjoyment? 63 00:01:59.541 --> 00:02:00.875 Not just enjoyment. 64 00:02:00.875 --> 00:02:02.375 Oh man, that's a tough one. 65 00:02:02.375 --> 00:02:05.375 I mean, the easy sort 66 00:02:05.375 --> 00:02:06.583 of film that I would say 67 00:02:06.583 --> 00:02:07.750 is one of my favourites is 68 00:02:07.750 --> 00:02:11.000 Blade Runner, the original one. 69 00:02:11.000 --> 00:02:12.916 But what got me into 70 00:02:12.916 --> 00:02:14.375 film and cinematography 71 00:02:14.375 --> 00:02:15.375 to begin with was 72 00:02:15.375 --> 00:02:17.291 just, when I was a student, 73 00:02:17.291 --> 00:02:20.375 was films like Fellini - Satyricon, 74 00:02:20.375 --> 00:02:22.458 or The Conformist or whatnot. 75 00:02:22.958 --> 00:02:25.333 You know, just things that look good. 76 00:02:25.333 --> 00:02:26.375 Yeah, well you'll 77 00:02:26.375 --> 00:02:27.291 have to watch it at night 78 00:02:27.291 --> 00:02:28.166 on the desert island, 79 00:02:28.166 --> 00:02:29.625 'cause it'll be too bright, 80 00:02:29.625 --> 00:02:32.166 I guess, with a little sand. 81 00:02:32.166 --> 00:02:34.000 All right, all right, let's, 82 00:02:34.000 --> 00:02:34.833 I should stop mucking around, 83 00:02:34.833 --> 00:02:37.125 'cause we haven't got much time. 84 00:02:37.125 --> 00:02:40.333 Now, when I was researching, 85 00:02:40.333 --> 00:02:41.708 your name, it's always 86 00:02:41.708 --> 00:02:42.666 associated with David Fincher. 87 00:02:42.666 --> 00:02:43.583 Of course. 88 00:02:43.583 --> 00:02:46.083 And I know this is a, maybe diplomatic, 89 00:02:46.083 --> 00:02:48.541 but does that ever get frustrating? 90 00:02:48.541 --> 00:02:50.416 No, not at all. 91 00:02:51.000 --> 00:02:54.250 I work, he keeps me busy, you know, so. 92 00:02:54.250 --> 00:02:56.125 But to be perfectly honest, since I 93 00:02:56.125 --> 00:02:57.500 arrived in Hollywood, 94 00:02:57.500 --> 00:02:59.250 I've only been working for David Fincher. 95 00:02:59.250 --> 00:03:02.208 I mean, yeah, colour-wise, 96 00:03:02.208 --> 00:03:04.166 I've only worked for David. 97 00:03:04.166 --> 00:03:05.125 Yeah. 98 00:03:05.125 --> 00:03:08.250 And you spent a whole heap of years, 99 00:03:08.250 --> 00:03:10.125 like 15 years or so, working in Paris 100 00:03:10.125 --> 00:03:11.708 with filmmakers and photographers. 101 00:03:11.708 --> 00:03:12.833 Yeah. 102 00:03:12.833 --> 00:03:15.000 Tell me about that. 103 00:03:15.000 --> 00:03:15.791 What was that like, 104 00:03:15.791 --> 00:03:17.000 and then how does that inform 105 00:03:17.000 --> 00:03:18.333 your role now as a colourist? 106 00:03:18.500 --> 00:03:19.583 Well, I worked in the 107 00:03:19.583 --> 00:03:22.166 fashion photography world, 108 00:03:22.166 --> 00:03:24.583 starting in around 2000. 109 00:03:24.583 --> 00:03:26.708 And it was all about 110 00:03:26.708 --> 00:03:28.625 still capturing of stills. 111 00:03:28.625 --> 00:03:30.291 And I was sort of a Photoshop guru 112 00:03:30.291 --> 00:03:33.458 and a printing guru over there. 113 00:03:33.458 --> 00:03:35.208 And so, I was working 114 00:03:35.208 --> 00:03:36.166 for this digital company 115 00:03:36.166 --> 00:03:39.083 that kind of evangelized digital capture 116 00:03:39.083 --> 00:03:41.583 to still photographers who were used to 117 00:03:41.583 --> 00:03:43.125 working in traditional film. 118 00:03:43.125 --> 00:03:44.916 And the idea was to sell 119 00:03:44.916 --> 00:03:47.291 them on this whole new process, 120 00:03:48.000 --> 00:03:50.458 using film emulation LUTs. 121 00:03:50.458 --> 00:03:51.583 And a lot of them had 122 00:03:51.583 --> 00:03:54.250 their own universes and styles. 123 00:03:54.250 --> 00:03:55.458 So we would create 124 00:03:55.458 --> 00:03:58.416 custom LUTs for them to, 125 00:03:58.416 --> 00:03:59.541 so that their universe 126 00:03:59.541 --> 00:04:01.958 could sort of exist, you know, 127 00:04:01.958 --> 00:04:03.416 live on a screen while 128 00:04:03.416 --> 00:04:04.541 they're shooting, you know, 129 00:04:04.541 --> 00:04:07.958 their medium format stills and whatnot. 130 00:04:07.958 --> 00:04:08.958 And I would say that that 131 00:04:08.958 --> 00:04:10.666 was my very big introduction 132 00:04:10.666 --> 00:04:12.916 to photography. 133 00:04:12.916 --> 00:04:16.250 And it's all, it's a 134 00:04:16.250 --> 00:04:17.250 really fascinating world 135 00:04:17.500 --> 00:04:19.541 with amazing talents 136 00:04:19.541 --> 00:04:22.375 and it's pretty high end. 137 00:04:22.375 --> 00:04:22.541 Yeah. 138 00:04:22.541 --> 00:04:23.083 Yeah. 139 00:04:23.083 --> 00:04:24.041 Yeah. 140 00:04:24.041 --> 00:04:25.583 I feel like it's like 141 00:04:25.583 --> 00:04:26.375 one of those talk shows 142 00:04:26.375 --> 00:04:30.041 where you get a listener to call in, 143 00:04:30.041 --> 00:04:31.333 because I was chatting to a director 144 00:04:31.333 --> 00:04:32.291 friend of mine yesterday 145 00:04:32.291 --> 00:04:33.166 and I mentioned that 146 00:04:33.166 --> 00:04:33.833 I was speaking to you 147 00:04:33.833 --> 00:04:34.458 and he goes, "Oh, can 148 00:04:34.458 --> 00:04:36.041 you ask him this question?" 149 00:04:36.041 --> 00:04:37.416 So this is for my 150 00:04:37.416 --> 00:04:38.875 friend, what did he say? 151 00:04:38.875 --> 00:04:40.541 All right, how do you 152 00:04:40.541 --> 00:04:42.125 guide a first time director 153 00:04:42.125 --> 00:04:44.250 into giving you actionable feedback, 154 00:04:44.250 --> 00:04:45.416 especially if they haven't 155 00:04:45.416 --> 00:04:47.125 developed a visual vocabulary? 156 00:04:47.458 --> 00:04:48.208 Oh. 157 00:04:48.208 --> 00:04:50.083 That was his question. 158 00:04:50.083 --> 00:04:53.250 Oh, I mean, that's part of the, you know, 159 00:04:53.250 --> 00:04:56.541 you're providing a service to somebody 160 00:04:56.541 --> 00:04:57.541 and when you're working 161 00:04:57.541 --> 00:05:01.041 with artists, you know, 162 00:05:01.041 --> 00:05:04.041 it's such a whole spectrum of people, 163 00:05:04.041 --> 00:05:05.541 it's as wide a spectrum as 164 00:05:05.541 --> 00:05:08.041 there are people, you know. 165 00:05:08.041 --> 00:05:10.291 Some people aren't clear upfront, 166 00:05:10.291 --> 00:05:11.666 they have this process 167 00:05:11.666 --> 00:05:12.958 that it takes you a while 168 00:05:12.958 --> 00:05:13.750 to figure out. 169 00:05:15.541 --> 00:05:18.125 Others are extremely clear upfront, 170 00:05:18.125 --> 00:05:19.083 they give you 171 00:05:19.083 --> 00:05:22.083 references, that's always great. 172 00:05:22.083 --> 00:05:24.833 Others aren't clear necessarily upfront, 173 00:05:24.833 --> 00:05:27.833 but when they sit in front of us, 174 00:05:27.833 --> 00:05:29.583 when you put something in front of them, 175 00:05:29.583 --> 00:05:30.916 and David Fincher is one 176 00:05:30.916 --> 00:05:33.083 of these kind of people, 177 00:05:33.083 --> 00:05:35.375 he's extremely verbose and 178 00:05:35.375 --> 00:05:37.625 clear about what you need to do 179 00:05:37.625 --> 00:05:38.750 to that image to make it 180 00:05:38.750 --> 00:05:41.708 look like he wants it, you know. 181 00:05:41.708 --> 00:05:42.750 And in that sense, it's easy to just follow his direction, 182 00:05:43.791 --> 00:05:47.125 sometimes. 183 00:05:47.125 --> 00:05:49.000 When you begin working on a project, 184 00:05:49.000 --> 00:05:51.000 be it film or television, 185 00:05:51.000 --> 00:05:53.875 what stage do you get involved? 186 00:05:53.875 --> 00:05:55.750 Well, with Fincher, I get 187 00:05:55.750 --> 00:05:57.125 involved very, very early 188 00:05:57.125 --> 00:05:59.500 because one thing, I'm 189 00:05:59.500 --> 00:06:01.750 usually hired by the, 190 00:06:01.750 --> 00:06:03.541 I'm not part of a 191 00:06:03.541 --> 00:06:04.666 facility, I'm a freelancer, 192 00:06:04.666 --> 00:06:05.833 so I am essentially 193 00:06:05.833 --> 00:06:08.541 hired by the film itself, 194 00:06:08.541 --> 00:06:11.291 like any other crew member. 195 00:06:11.291 --> 00:06:11.458 And so I'm on from the start, 196 00:06:12.125 --> 00:06:16.875 working with the DP in terms of, 197 00:06:16.875 --> 00:06:18.333 in finding out what 198 00:06:18.333 --> 00:06:19.166 the project's all about, 199 00:06:19.166 --> 00:06:21.250 what they want, do they need show LUTs, 200 00:06:21.250 --> 00:06:22.750 do you know what kind of 201 00:06:22.750 --> 00:06:23.958 camera they're gonna shoot with, 202 00:06:23.958 --> 00:06:25.708 and they do camera 203 00:06:25.708 --> 00:06:27.125 testing a lot of times, 204 00:06:27.125 --> 00:06:28.875 and it goes through my base light, 205 00:06:28.875 --> 00:06:30.208 and they say they want 206 00:06:30.208 --> 00:06:31.041 me to throw things up 207 00:06:31.041 --> 00:06:34.125 right from the start. 208 00:06:34.125 --> 00:06:36.291 Obviously, if I have time. 209 00:06:36.291 --> 00:06:37.166 - Yeah, yeah, it's always the time thing. 210 00:06:38.916 --> 00:06:43.541 In regards to working with Mr. Fincher, 211 00:06:43.541 --> 00:06:46.583 I mean, have you noticed, 212 00:06:46.583 --> 00:06:47.166 over the period of time 213 00:06:47.166 --> 00:06:48.208 you've worked with him, 214 00:06:48.208 --> 00:06:50.375 that there's been a change in aesthetic, 215 00:06:50.375 --> 00:06:52.041 or is that not relevant because it 216 00:06:52.041 --> 00:06:53.833 depends on the project? 217 00:06:53.833 --> 00:06:56.583 - I wouldn't say there's 218 00:06:56.583 --> 00:06:59.875 been a change in his aesthetics 219 00:06:59.875 --> 00:07:01.458 since I've known him, 220 00:07:01.458 --> 00:07:03.208 since I've been working for him, 221 00:07:03.208 --> 00:07:04.458 so that's about eight years. 222 00:07:06.000 --> 00:07:08.375 We had one project that was more, 223 00:07:08.375 --> 00:07:10.333 well two actually, that were more 224 00:07:10.333 --> 00:07:12.416 outliers than others, 225 00:07:12.416 --> 00:07:13.541 but no, every project is 226 00:07:13.541 --> 00:07:16.208 different, I have to say. 227 00:07:16.208 --> 00:07:19.375 But I would say over time, 228 00:07:19.375 --> 00:07:20.833 'cause I'm remastering some 229 00:07:20.833 --> 00:07:24.166 of his old classics right now, 230 00:07:24.166 --> 00:07:27.250 like I remastered The Social Network, 231 00:07:27.250 --> 00:07:28.250 I'm in the process of 232 00:07:28.250 --> 00:07:29.708 remastering Panic Room, 233 00:07:29.708 --> 00:07:31.583 and I'm also just starting on Seven. 234 00:07:33.541 --> 00:07:36.000 And I would say that 235 00:07:36.000 --> 00:07:37.500 he's much more interested 236 00:07:37.500 --> 00:07:40.083 in what he calls the suppleness 237 00:07:40.083 --> 00:07:41.666 of sort of an Ansel 238 00:07:41.666 --> 00:07:43.583 Adams type of zone range. 239 00:07:43.583 --> 00:07:46.375 He's really interested in seeing details 240 00:07:46.375 --> 00:07:49.708 in all ranges of the spectrum. 241 00:07:49.708 --> 00:07:52.625 Seven, for example, 242 00:07:52.625 --> 00:07:54.125 was very, very crushed 243 00:07:54.125 --> 00:07:55.291 in terms of the final look, 244 00:07:55.291 --> 00:07:57.833 not in terms of the cinematography. 245 00:07:57.833 --> 00:08:01.125 The original negative has lots of detail, 246 00:08:01.708 --> 00:08:04.166 mostly, but the final 247 00:08:04.166 --> 00:08:05.458 look that was applied to it 248 00:08:05.458 --> 00:08:07.541 was very chiaroscuro, you know, 249 00:08:07.541 --> 00:08:09.916 it was very, very, 250 00:08:09.916 --> 00:08:13.166 very moody and contrasty. 251 00:08:13.166 --> 00:08:15.583 And I would say David's look and 252 00:08:15.583 --> 00:08:16.708 aesthetic since then 253 00:08:16.708 --> 00:08:21.666 has moved into something more 254 00:08:21.666 --> 00:08:24.333 where I would say he 255 00:08:24.333 --> 00:08:25.708 uses the word suppleness 256 00:08:25.708 --> 00:08:26.958 and I would just say that 257 00:08:26.958 --> 00:08:30.250 he's really into detail, yeah. 258 00:08:30.416 --> 00:08:31.750 - That's interesting. 259 00:08:31.750 --> 00:08:32.791 When you mentioned Seven, 260 00:08:32.791 --> 00:08:35.041 I've just got this wonderful memory 261 00:08:35.041 --> 00:08:37.583 of going to see that film with my dad 262 00:08:37.583 --> 00:08:39.291 and driving home in the car 263 00:08:39.291 --> 00:08:41.666 and we both just kind of like, 264 00:08:41.666 --> 00:08:43.041 you're just silencing. 265 00:08:43.041 --> 00:08:47.041 - Yeah, it's an intense one. 266 00:08:47.041 --> 00:08:49.708 - Now, I'm such a 267 00:08:49.708 --> 00:08:51.166 massive fan of black and white 268 00:08:51.166 --> 00:08:52.083 and so I really wanna 269 00:08:52.083 --> 00:08:53.500 talk to you about Mank 270 00:08:53.500 --> 00:08:56.875 and your process of that. 271 00:08:56.875 --> 00:08:58.541 Where do I start? 272 00:08:58.541 --> 00:08:59.375 I guess the first question is, 273 00:08:59.583 --> 00:09:01.125 was that always gonna be 274 00:09:01.125 --> 00:09:02.375 a black and white film? 275 00:09:02.375 --> 00:09:07.291 - Yes, yeah, because it was always 276 00:09:07.291 --> 00:09:11.541 about the creators of Citizen Kane 277 00:09:11.541 --> 00:09:12.833 and it was very much 278 00:09:12.833 --> 00:09:15.833 talk about replicating 40s, 279 00:09:15.833 --> 00:09:16.708 the feel of 40s and 280 00:09:16.708 --> 00:09:18.000 the cinematic look of 281 00:09:18.000 --> 00:09:19.500 black and white from the time. 282 00:09:19.583 --> 00:09:20.583 It's like, let's make this 283 00:09:20.583 --> 00:09:23.041 look like it was shot back then. 284 00:09:23.041 --> 00:09:25.458 So of course, 285 00:09:25.458 --> 00:09:29.583 the end result is obviously widescreen 286 00:09:29.583 --> 00:09:33.625 and not four by three or whatever, 287 00:09:33.625 --> 00:09:34.916 but all these other 288 00:09:34.916 --> 00:09:37.958 elements went into degrading, 289 00:09:37.958 --> 00:09:39.458 well, we call it degrading, 290 00:09:39.458 --> 00:09:41.666 but aestheticizing the 291 00:09:41.666 --> 00:09:44.666 image to look historical, 292 00:09:44.666 --> 00:09:46.208 like vintage-y, yeah. 293 00:09:46.208 --> 00:09:48.625 - Yeah, which it absolutely does. 294 00:09:48.791 --> 00:09:50.541 I mean, I've watched it 295 00:09:50.541 --> 00:09:51.666 three times now, I think, 296 00:09:51.666 --> 00:09:52.916 and every time I go, 297 00:09:52.916 --> 00:09:53.791 "Oh, look what they did 298 00:09:53.791 --> 00:09:55.583 in that, you know, so." 299 00:09:55.583 --> 00:09:57.541 I mean, where did you start? 300 00:09:57.541 --> 00:09:58.416 Did you start just by 301 00:09:58.416 --> 00:09:59.916 kind of studying older films? 302 00:09:59.916 --> 00:10:00.708 I mean, I know that seems 303 00:10:00.708 --> 00:10:01.708 like an obvious question, 304 00:10:01.708 --> 00:10:02.583 but where the heck 305 00:10:02.583 --> 00:10:04.291 did you start with that? 306 00:10:04.291 --> 00:10:08.250 - Well, we started with testing cameras 307 00:10:08.250 --> 00:10:09.416 and there was a question of 308 00:10:09.416 --> 00:10:10.625 whether they wanted to shoot 309 00:10:10.625 --> 00:10:15.583 with color cameras or a monochromatic Red 310 00:10:15.583 --> 00:10:17.666 that doesn't capture color, 311 00:10:18.208 --> 00:10:19.916 just capture straight black and white, 312 00:10:19.916 --> 00:10:22.166 and that was the latter was the choice. 313 00:10:22.166 --> 00:10:23.166 And so it was like, 314 00:10:23.166 --> 00:10:24.208 "Wow, this is gonna be fun. 315 00:10:24.208 --> 00:10:25.708 "No color keys 316 00:10:25.708 --> 00:10:27.916 whatsoever, no cheating underneath." 317 00:10:27.916 --> 00:10:29.500 You know? - Of course. 318 00:10:29.500 --> 00:10:31.750 - And so it's all Luma keys, 319 00:10:31.750 --> 00:10:36.125 and that's quite a task, you know? 320 00:10:36.125 --> 00:10:37.833 When you're used to 321 00:10:37.833 --> 00:10:38.833 somebody being able to tell you, 322 00:10:38.833 --> 00:10:40.291 "See that tree back there? 323 00:10:40.291 --> 00:10:43.791 "I want it more ominous or whatever," 324 00:10:43.791 --> 00:10:45.000 and you can't select 325 00:10:45.000 --> 00:10:47.083 the color green, you know? 326 00:10:47.208 --> 00:10:51.000 But you gotta find other ways. 327 00:10:51.000 --> 00:10:52.791 But as far as the look of the film, 328 00:10:52.791 --> 00:10:55.541 David and Eric Messerschmitt, 329 00:10:55.541 --> 00:10:56.958 they really had clear ideas 330 00:10:56.958 --> 00:10:58.083 of all the different elements 331 00:10:58.083 --> 00:10:58.875 that make for an historical look, 332 00:10:58.875 --> 00:11:00.416 that make for an historical look, 333 00:11:00.416 --> 00:11:04.375 things like softer lenses 334 00:11:04.375 --> 00:11:06.666 on the side and gate weave 335 00:11:06.666 --> 00:11:09.916 and really heavy optical grain, 336 00:11:09.916 --> 00:11:12.083 and this kind of, especially 337 00:11:12.083 --> 00:11:13.916 this kind of blooming thing 338 00:11:14.166 --> 00:11:14.791 that used to happen 339 00:11:14.791 --> 00:11:16.791 on certain film stocks. 340 00:11:16.791 --> 00:11:19.416 Yeah, and so we bloom 341 00:11:19.416 --> 00:11:21.708 the blacks aesthetically 342 00:11:21.708 --> 00:11:23.958 and even sometimes key framing them 343 00:11:23.958 --> 00:11:25.458 depending on the shot 344 00:11:25.458 --> 00:11:30.708 and even blooming the highlights as well 345 00:11:30.708 --> 00:11:32.625 on Amanda Seifried, 346 00:11:32.625 --> 00:11:33.833 sometimes to give that gauzy 347 00:11:33.833 --> 00:11:36.750 and kind of look. 348 00:11:36.750 --> 00:11:40.250 And his marching orders were usually 349 00:11:40.250 --> 00:11:41.500 using the word silvery. 350 00:11:42.791 --> 00:11:44.041 And I think that goes 351 00:11:44.041 --> 00:11:45.000 back to what I was saying 352 00:11:45.000 --> 00:11:46.958 about Anansol Adams kind of tonal range 353 00:11:46.958 --> 00:11:48.833 is that the silvers are in 354 00:11:48.833 --> 00:11:50.375 the middle of the spectrum, 355 00:11:50.375 --> 00:11:54.166 and so he wants all the different, 356 00:11:54.166 --> 00:11:57.458 from A to Z in terms of those zones 357 00:11:57.458 --> 00:12:01.541 to be in conversation with each other. 358 00:12:01.541 --> 00:12:02.458 Yeah. 359 00:12:02.458 --> 00:12:03.916 I mean, how much, I guess 360 00:12:03.916 --> 00:12:05.250 it varies on the project, 361 00:12:05.250 --> 00:12:07.291 but how much prep time 362 00:12:07.291 --> 00:12:08.750 do you get for a project? 363 00:12:09.541 --> 00:12:10.375 Well, with David, I 364 00:12:10.375 --> 00:12:13.125 mean, they, like I said, 365 00:12:13.125 --> 00:12:14.375 I don't work for a 366 00:12:14.375 --> 00:12:16.583 facility, so I'm hired by the films. 367 00:12:16.583 --> 00:12:19.916 And so I, you know, the 368 00:12:19.916 --> 00:12:22.166 only reason I'm not working 369 00:12:22.166 --> 00:12:23.625 from day one until 370 00:12:23.625 --> 00:12:24.916 it's actually delivered 371 00:12:24.916 --> 00:12:27.416 is because I usually have several 372 00:12:27.416 --> 00:12:29.791 projects I'm working on. 373 00:12:29.791 --> 00:12:31.833 But otherwise, David's 374 00:12:31.833 --> 00:12:33.041 happy with being able 375 00:12:33.041 --> 00:12:35.083 to come down the hall and say, 376 00:12:35.083 --> 00:12:36.041 throw this up on the 377 00:12:36.041 --> 00:12:37.583 baseline, I wanna see this scene 378 00:12:38.125 --> 00:12:40.583 and let's work on it together. 379 00:12:40.583 --> 00:12:41.291 And then, you know, 380 00:12:41.291 --> 00:12:42.500 he'll spend 20 minutes 381 00:12:42.500 --> 00:12:43.458 and then he'll walk 382 00:12:43.458 --> 00:12:44.583 away and I'll keep working 383 00:12:44.583 --> 00:12:46.416 and he'll pop in anytime, you know? 384 00:12:46.416 --> 00:12:47.375 And he just loves it. 385 00:12:47.375 --> 00:12:48.208 He loves 386 00:12:48.208 --> 00:12:51.000 post-production more than anything. 387 00:12:51.000 --> 00:12:52.000 Yeah. 388 00:12:52.000 --> 00:12:54.708 Do you, outside the world of a colorist, 389 00:12:54.708 --> 00:12:57.666 I mean, what is your, 390 00:12:57.666 --> 00:12:58.666 what keeps your heart going? 391 00:12:58.666 --> 00:13:02.541 What's your inspiration? 392 00:13:02.541 --> 00:13:04.125 You mean like art? 393 00:13:04.750 --> 00:13:10.041 Art or, you know, just expression. 394 00:13:10.041 --> 00:13:11.750 I like storytelling a lot. 395 00:13:11.750 --> 00:13:14.083 I like all forms of expression from 396 00:13:14.083 --> 00:13:17.208 poetry lines on a page 397 00:13:17.208 --> 00:13:20.458 to I love going to any 398 00:13:20.458 --> 00:13:23.333 museum either of contemporary art, 399 00:13:23.333 --> 00:13:24.875 not so much contemporary, 400 00:13:24.875 --> 00:13:28.041 but painters and photographers. 401 00:13:28.041 --> 00:13:29.000 And I mean, I do mind 402 00:13:29.000 --> 00:13:30.333 a little conceptual, 403 00:13:30.333 --> 00:13:31.791 I don't mind a little conceptual art, 404 00:13:32.208 --> 00:13:38.333 especially if it's funny, but, 405 00:13:38.333 --> 00:13:39.708 and I don't know, you 406 00:13:39.708 --> 00:13:42.125 know, things like that. 407 00:13:42.125 --> 00:13:44.000 Whatever, even reading books, 408 00:13:44.000 --> 00:13:44.750 I've gotten back into 409 00:13:44.750 --> 00:13:46.250 reading books lately 410 00:13:46.250 --> 00:13:47.708 and the sky's the limit. 411 00:13:47.708 --> 00:13:51.416 In music, I'm a horrible music nerd 412 00:13:51.416 --> 00:13:54.500 and I've just loved music 413 00:13:54.500 --> 00:13:56.791 my whole life, you know? 414 00:13:56.791 --> 00:13:57.708 Do you play? 415 00:13:57.708 --> 00:13:58.500 I do not play. 416 00:13:58.875 --> 00:14:01.625 I've dabbled, but I 417 00:14:01.625 --> 00:14:02.750 mean, I've dabbled in drums 418 00:14:02.750 --> 00:14:04.458 and in guitar and 419 00:14:04.458 --> 00:14:06.250 keyboard synthesizer things, 420 00:14:06.250 --> 00:14:09.583 but I've always been kind of a DJ 421 00:14:09.583 --> 00:14:12.125 and one of those kind of, you know, 422 00:14:12.125 --> 00:14:13.125 I love playing the 423 00:14:13.125 --> 00:14:14.416 game of like, you know, 424 00:14:14.416 --> 00:14:16.833 hey, let's name 10 songs 425 00:14:16.833 --> 00:14:19.000 that you have the word yellow in it, go. 426 00:14:19.000 --> 00:14:22.291 You know, and that kind of silly thing. 427 00:14:22.291 --> 00:14:24.208 Yeah, that's amazing. 428 00:14:24.208 --> 00:14:26.791 Do you have a different approach 429 00:14:27.625 --> 00:14:31.500 for like television versus cinema? 430 00:14:31.500 --> 00:14:33.250 Well, yeah, no, 431 00:14:33.250 --> 00:14:34.583 because, you know, like I said, 432 00:14:34.583 --> 00:14:36.500 I've only really worked for Fincher 433 00:14:36.500 --> 00:14:39.750 in terms of a colorist in narrative. 434 00:14:39.750 --> 00:14:41.333 I mean, I did tons of 435 00:14:41.333 --> 00:14:43.750 fashion work in coloring 436 00:14:43.750 --> 00:14:46.125 and back in Paris, 437 00:14:46.125 --> 00:14:46.916 but here I've only 438 00:14:46.916 --> 00:14:48.666 worked for Fincher in any, 439 00:14:48.666 --> 00:14:50.166 so him, it's like any TV 440 00:14:50.166 --> 00:14:51.541 show needs to look like 441 00:14:51.541 --> 00:14:54.125 a film anyways. 442 00:14:54.125 --> 00:14:54.625 Yeah. 443 00:14:54.625 --> 00:14:55.791 But I have worked on 444 00:14:55.791 --> 00:14:56.458 documentaries with him 445 00:14:56.750 --> 00:15:00.708 and also on animation and yeah, I mean, 446 00:15:00.708 --> 00:15:04.000 sometimes the genre itself, you know, 447 00:15:04.000 --> 00:15:05.666 really does dictate because 448 00:15:05.666 --> 00:15:07.125 if you're doing a, you know, 449 00:15:07.125 --> 00:15:09.833 a documentary that has 450 00:15:09.833 --> 00:15:11.416 historical films in it or whatnot, 451 00:15:11.416 --> 00:15:12.625 you can't just go and grade 452 00:15:12.625 --> 00:15:15.916 those films again, you know. 453 00:15:15.916 --> 00:15:17.000 You know, I've done those 454 00:15:17.000 --> 00:15:17.583 kinds of things with him, 455 00:15:17.583 --> 00:15:23.291 but I've also done animation and yeah. 456 00:15:23.291 --> 00:15:25.250 I had no idea he'd done animation. 457 00:15:25.541 --> 00:15:27.041 I didn't realize that. 458 00:15:27.041 --> 00:15:28.625 He did an episode of Love, 459 00:15:28.625 --> 00:15:31.250 Death and Robots season two 460 00:15:31.250 --> 00:15:32.541 or three. 461 00:15:32.541 --> 00:15:32.708 Yeah. 462 00:15:32.708 --> 00:15:34.125 And I graded that. 463 00:15:34.125 --> 00:15:34.958 Yeah. 464 00:15:34.958 --> 00:15:36.625 What's that like grading animation? 465 00:15:36.625 --> 00:15:39.333 I mean, how, I've only done 466 00:15:39.333 --> 00:15:41.166 it once about 10 years ago. 467 00:15:41.166 --> 00:15:43.791 So what's it like? 468 00:15:43.791 --> 00:15:45.416 Well, with, well, it's 469 00:15:45.416 --> 00:15:46.166 surprisingly similar. 470 00:15:46.166 --> 00:15:47.125 I mean, the great thing is 471 00:15:47.125 --> 00:15:48.375 that you have all the alpha 472 00:15:48.375 --> 00:15:49.958 channels you want because 473 00:15:49.958 --> 00:15:52.291 it comes from, you know, 3D. 474 00:15:52.541 --> 00:15:54.083 And so they get, they usually 475 00:15:54.083 --> 00:15:56.541 give you the hero, you know, 476 00:15:56.541 --> 00:15:59.166 as an alpha and 477 00:15:59.166 --> 00:16:00.416 automatically, you know what I mean? 478 00:16:00.416 --> 00:16:02.333 So that you can dial him 479 00:16:02.333 --> 00:16:06.000 or her or they in correctly, 480 00:16:06.000 --> 00:16:07.708 you know, things like that. 481 00:16:07.708 --> 00:16:08.541 But other than that, 482 00:16:08.541 --> 00:16:11.458 it's, it's just as, you know, 483 00:16:11.458 --> 00:16:12.833 with Fincher it's just as 484 00:16:12.833 --> 00:16:15.750 demanding as any other genre. 485 00:16:15.750 --> 00:16:17.125 Cause he's very, very 486 00:16:17.125 --> 00:16:19.375 particular about what he likes. 487 00:16:19.375 --> 00:16:19.916 Yeah. 488 00:16:19.916 --> 00:16:20.458 Yeah. 489 00:16:20.916 --> 00:16:22.916 Is there, is there a genre that you 490 00:16:22.916 --> 00:16:23.625 haven't been involved 491 00:16:23.625 --> 00:16:28.416 with that you would like to work on? 492 00:16:28.416 --> 00:16:28.791 I don't know. 493 00:16:28.791 --> 00:16:29.875 I'd love to, I'd love to 494 00:16:29.875 --> 00:16:32.666 do a high dynamic range 495 00:16:32.666 --> 00:16:35.125 documentary on volcanoes. 496 00:16:35.125 --> 00:16:36.416 Cause the imagery is 497 00:16:36.416 --> 00:16:39.083 just unbelievable, you know? 498 00:16:39.083 --> 00:16:40.125 Wow. That's so specific. 499 00:16:40.125 --> 00:16:43.125 That's like, I don't know if 500 00:16:43.125 --> 00:16:44.375 you've seen this documentary 501 00:16:44.375 --> 00:16:48.916 that came out called the love, love 502 00:16:48.916 --> 00:16:49.166 couple or something. 503 00:16:49.958 --> 00:16:51.333 But I already thought 504 00:16:51.333 --> 00:16:52.750 that before because I'm a big 505 00:16:52.750 --> 00:16:53.625 Werner Herzog fan. 506 00:16:53.625 --> 00:16:54.875 And I was thinking, cause I 507 00:16:54.875 --> 00:16:56.250 saw one documentary he did 508 00:16:56.250 --> 00:16:57.333 about volcanoes and I was 509 00:16:57.333 --> 00:16:59.125 like, damn, if I run him into him 510 00:16:59.125 --> 00:17:00.041 in the supermarket and 511 00:17:00.041 --> 00:17:01.333 say, Werner, I want to, 512 00:17:01.333 --> 00:17:03.916 I want to grade your next volcano movie. 513 00:17:03.916 --> 00:17:07.750 Cause it's just like a fascinating thing. 514 00:17:07.750 --> 00:17:08.833 That would be my ticket 515 00:17:08.833 --> 00:17:10.750 to work for Werner Herzog. 516 00:17:10.750 --> 00:17:11.583 That's fantastic. 517 00:17:11.583 --> 00:17:13.125 If he's listening. 518 00:17:13.125 --> 00:17:14.125 Yeah. Yeah. Yeah. 519 00:17:14.125 --> 00:17:15.583 I'll give him a call. 520 00:17:16.958 --> 00:17:19.750 That's it. My timer ran out. 521 00:17:19.750 --> 00:17:21.916 We're done. 522 00:17:21.916 --> 00:17:22.541 It goes so far. 523 00:17:22.541 --> 00:17:23.208 And I've still got so 524 00:17:23.208 --> 00:17:25.833 many other questions, but 525 00:17:25.833 --> 00:17:26.541 Eric, thank you. 526 00:17:26.541 --> 00:17:28.083 Thank you so much for taking time out. 527 00:17:28.083 --> 00:17:29.041 It's not a problem at all. 528 00:17:29.041 --> 00:17:31.041 Vincent, it was my pleasure. 529 00:17:31.041 --> 00:17:32.041 Cheers. 530 00:17:32.041 --> 00:17:33.083 Thank you so much, 531 00:17:33.083 --> 00:17:34.291 Eric, for having a chat. 532 00:17:34.291 --> 00:17:35.791 That was cool. 533 00:17:35.791 --> 00:17:38.000 You the listener. 534 00:17:38.000 --> 00:17:41.166 I was a bit nervous, right? 535 00:17:41.166 --> 00:17:41.916 Yeah. It's hard. 536 00:17:41.916 --> 00:17:43.416 You know, when there's 537 00:17:43.416 --> 00:17:44.291 somebody you really respect 538 00:17:44.458 --> 00:17:46.500 and you look up to like I've been 539 00:17:46.500 --> 00:17:47.333 watching Eric's work 540 00:17:47.333 --> 00:17:49.458 for years and yeah, 541 00:17:49.458 --> 00:17:51.791 it's, it's hard to do that 542 00:17:51.791 --> 00:17:52.875 to kind of control those 543 00:17:52.875 --> 00:17:55.333 nerves, but I did my best. 544 00:17:55.333 --> 00:17:58.583 Thank you so much to MixingLight.com 545 00:17:58.583 --> 00:18:00.041 they're my executive 546 00:18:00.041 --> 00:18:02.458 producer and putting the show on 547 00:18:02.458 --> 00:18:03.250 and also to my friend 548 00:18:03.250 --> 00:18:04.541 of the show Filmlight 549 00:18:04.541 --> 00:18:06.625 and my producer Kayla. 550 00:18:06.625 --> 00:18:08.416 And look, thanks for listening. 551 00:18:08.416 --> 00:18:09.708 Like subscribe to all that kind of stuff. 552 00:18:09.708 --> 00:18:10.250 It does help. 553 00:18:10.250 --> 00:18:11.208 It does make a difference. 554 00:18:11.208 --> 00:18:12.375 I appreciate it. 555 00:18:12.375 --> 00:18:12.916 All right. 556 00:18:13.916 --> 00:18:14.208 Good. 557 00:18:14.916 --> 00:18:16.791 The color timer, a 558 00:18:16.791 --> 00:18:21.333 micro podcast experience.