"He shoots for an editor." One of the best lessons any director can learn. A director should have as close of a working relationship with their editor as they do with their cinematographer.
Baxter starts editing the second day of shooting, when he gets the shots from day one. And they wait for his edits before they "strike" the sets, in case they need to do pick ups. So yes, there's a constant connection and feedback between the three, director, cinematographer, and editor, during the shooting.
Kirk is a fucking legend. Sifting through all that coverage of each scene must be an experience to say the least but clearly there's a magic that comes from having so many options in the edit. The fight scene in The Killer being a prime example of this in my opinion.
I'm so impressed you got Kirk for an episode! He's always so generous with his interviews. So much insight. So practical. Thanks for your work with the podcast! (The incredibly precise use of inserts from The Killer throughout the interview did not go unnoticed, bravo 🔪 🎵)
00:26 🎬 Kirk Baxter, a collaborator with David Fincher, discusses his editing style and techniques, including choreographing scenes and using music for impact. 01:08 🎥 Riverside, an online recording software, offers separate audio, camera, and screen recording features, providing high-quality 4K footage for remote interviews and post-production tools. 02:28 📽 In "The Killer," efforts were made to manage blinks in critical scenes to maintain the intended rhythm and intention behind the dialogue delivery. 05:21 🎞 David Fincher's shooting style involves extensive coverage, enabling flexibility for the editor to select and craft the most impactful sequences. 07:51 🎭 Over-the-shoulder shots are preferred by Fincher for their immersive impact, despite being more challenging to film due to their complexity. 08:20 🗣 Baxter emphasizes the importance of letting dialogue lead the edits, seeking opportunities beyond simple line-cutting for a less predictable flow. 10:02 💥 In "The Killer," the editing style shifts during intense scenes, using specific techniques to mirror the character's control or lack thereof in the narrative. 11:39 🎵 Music plays a significant role in guiding the editing rhythm and pacing, often dictating the visual structure of sequences. 13:16 🎬 Baxter discusses the approach to using music selectively in films, focusing on building tension through silent moments before introducing music for impact. 15:24 🎬 The initial five minutes of a film are crucial for establishing tone and intent, often following a deliberate script intention while allowing for adjustments to engage the audience effectively. 16:48 🔍 Intent in editing involves understanding the purpose of each scene and using angles and choreography to naturally guide the viewer's focus. 18:24 🎞 Baxter explains the logistical challenge of editing scenes with limited initial visual elements, relying on intuition and iterative refinement to build coherent sequences. 21:34 🔊 Use of voiceovers in editing requires a careful balance and rhythm to avoid disrupting the flow, often necessitating adjustments in dialogue to maintain coherence. 23:51 🎬 Using intentional discipline in the editing process often involves taking a bit longer than what's comfortable to create the desired impact. 24:20 🔊 Allowing space in a film without a music track provides opportunities for sound designers to enhance scenes creatively. 25:35 🎙 Experimenting with voiceover timing and its synchronization with visuals plays a crucial role in achieving smooth and impactful storytelling. 26:08 🎭 Choreography within shots helps maximize coverage without constant cutting, allowing for impactful transitions. 27:30 🔄 Editing voiceovers and scenesinvolves constant reassessment and adjustment, often affected by changes in the script or director's preferences. 28:12 💸 Accumulating diverse footage for a film requires substantial time and budget, even for a short duration of the final edited piece. 29:22 🎥 Managing multiple angles and shots within limited spaces involves meticulous planning and attention to pacing, not continuity. 30:29 🎵 Judging the editing process can involve using music as a benchmark to measure the pace and compression of scenes without losing important content. 30:58 🛤 Establishing creative guardrails amidst overwhelming footage helps maintain focus on selecting the best pieces for storytelling without getting lost in unnecessary directions.
As a cinematographer and editor I completely appreciate the enthusiasm he gives while explaining his process, very detailed and honest, which is what all of us editors need to hear because like he said although we might have edited 100 things we still have some insecurities with new processes. Also, great questions guys! the questions really helped take the conversation into more depth. I loved every min of this and you now have a new follower! 🙌
It is a well-edited movie, absolutely, but cuts flowing one into another is relatively easy with proper planning. There are many examples of this you can find. If you mean _scenes_ flowing well into another without relying on establishing shots to place the characters etc, then yes, it's well done. However, I don't think it's the best edited film of Fincher's, and it's pretty linear. What's hard is dealing with things like jumping between different points in time, or with concurrent plotlines with separate characters and switching between them while maintaining audience attention, and joining them together at the right time. _The Girl With The Dragon Tattoo_ does this brilliantly, and it's a much more complicated plot that requires a lot more compression of events.
This is probably the best video I've seen on the film making process. I had no idea how important the editor is and it's amazing to see how a director (or this director, anyway) can shoot everything his editor could possibly need. Thank you for this video.
Love this podcast! So grateful for these in-depth breakdowns. It's lovely watching this and learning more about editing while I do post for my own films. It makes editing feel less daunting and more of an exciting discovery. Thank you!
You don't just ask broad questions, but also get down to the nitty-gritty with stuff like "so then you do this, this and this?" This makes these interviews SUPER useful and makes you stand out.
I’ve got my first TV standard edit coming up with lots of dialogue, and this podcast couldn’t have prepared me better! Looking forward to ‘choreographing’ my edit next week, well done lads 👏🏼
Good luck to you! Make sure to make friends with the audio team, will save everyone headaches in the end. I learned the hard way, editor's job actually starts first day of shooting, earlier you're involved the better. I hate doing ADR
Nice to hear his honesty at 17:11 - because so many times I hear ponsey explanations of edits that were really trial and error and patience and persistent work.
I was really impressed by the rhythm and pacing of this movie. It flows so seamlessly and seems like a near perfect balance of stillness in the mundane procedure, tension building & then intense explosions of immediate action as a result of the forward momentum. I love the drawn out execution of a task, as in a 70s crime thriller like The Mechanic, The French Connection or much of Melville's work. Simplified plot & narrative allowing for complexity to grow in the detailed environment and character. I'm a bit confused as to some reviewers saying this was unsatisfying or they didn't understand why David Fincher would take this on. It was clearly him returning to what he's known for and what he does best, a return to form & craft but with something different enough & a kind of subjective approach that we rarely see.
I absolutely loved the editting on Mindhunter, the Netflix series that was also produced and partially directed by Fincher. It's an absolute masterclass.
this was such an incredible and insightful video!, and it is amazing to know that the iconic , 6 sentence dialogue - anticipate , not improvice .... - was added dialogue to fill an edit !!
Fantastic work as always fellas - It's really good to see you're able to sit down with these big players from traditional and create a free platform for them to share their knowledge. Keep doin what you're doin! Hearing a seasoned pro like Kirk sit there and say "We end up in situations not by formal training but just by the 10,000 hours... and most of the time I start off thinking 'I don't know what the fuck to do'" - that was SO encouraging. As someone who's clocked my 10,000 hours, I still feel an immense imposter syndrome at the beginning of every project, and knowing that even people like Kirk have the same feelings is immensely validating.
One of the most remarkable non-blinking takes I've ever seen (pun intended) is in the opening poker-game shot of Butch Cassidy and the Sundance Kid. Robert Redford doesn't blink for so long that, try as I might, I can't keep up with him without my eyes watering uncontrollably. I'd probably watched that movie a half-dozen times without noticing that detail, and now it is just so brilliantly obvious.
Fincher having trent and atticus is also a major plus. The gone girl scene has an excellent soundtrack that really make the scene feels shorter than it really is.
24:12 I remember a shot from the beginning of "Zodiac". when the couple watches the Zodiac´s car as it vanishes into the night - and the cut comes just a little bit too late which makes it immediately unsettling. Great interview and video!
Most masterful edits in modern cinema… the economy, intention and fidelity of animation. Every frame erupts purpose & interest. Can’t peel my eyes off the screen, like sucking on candy it’s compulsive.
How interesting. I always thought that the better people got, the more intent they entered the edit with. This guy has a similar process to me where it’s more put something together that sucks and refine it till it’s good Opposite of Dodford who seems to have an exact idea before production begins. Different genre though. Cool 👍🏾
I am a novice when it comes to film editing, although I love the art (and do it for 1 min videos at best). The first thing I noticed in this film was the uniqueness of the sound editing ... I just thought ... okay now this is something fresh! Now, after enjoying this video so much (I just discovered your channel btw, and have subscribed) ... I'm gonna watch #TheKiller again to appreciate the video editing! Love this!
I was impressed with the impact sounds of the glass bong and how it didn’t break after the first 2 hits. However, I feel like a bong of that quality wouldn’t have shattered like that in any way shape or form, especially not from the kinetic impact of a muscle-head human. After the first 2 minutes of this video I paused it and watched ‘The Killer’ and was hooked from the start because of the music/sound design. Does anyone know if there’s any special meaning/significance regarding the Buddha? The scene I'm talking about is roughly 1:37:17 into the film. The Killer enters an underground parking lot/lobby - “you’ve arrived at your destination” comes from Google Maps, the Killer looks up to see a portrait of Buddha hanging on the wall. The way he looks at it makes me feel its significant to him at the time, like a synchronicity of something his ‘inner voice’ was thinking before arrival; he wasn’t listening to music at the time of the Buddha sighting, he was intensely looking for someone to judge their position in his plan. The shot after also shows the Buddha, right before a van drives in front - taking your eye off the Buddha and onto the next vehicle - (the vehicle with the person who is the target of the killer). Perhaps both of these Buddha shots were just ways to get my eye to flow around the screen and land on the flower like it did ever so slightly, like a bee. its ok if this comment makes no sense to you, I just got defensive over the bong because I know quality glass 😂📷🌿
Cool vid/good stuff, but holy moly how does no-one know about the blinking thing at this point if they even have an interest in movies ("advanced technique"!)? Michael Caine has been talking about it for half a century!
So, speaking as an illustrator, doing multiple takes makes a lot of sense. When painting a painting or large, finished piece, I will do as many, smaller, simpler drawings/ideas to choose from. It’s just logic
Great job guys... like he said, it's a choreograph... that's almost universal within this art, as is problem solving, or delicately choosing which elements serve the narrative and coldly eliminating, like a killer, those which don't
20:34 I don't believe that the director just texted the editor saying, "Try The Smiths 'How soon is now?'" It almost sounds like the idea to use The Smiths was an off-hand idea, when surely a decision as grand as the licensed music to be used throughout the film was one meticulously reached. Even if everyone knew The Smiths' songs were to be used, and all tracks decided, but perhaps not which track would play with which scene, it doesn't sound likely that this first scene introducing The Smiths as the running theme of the assassin's work, would be afforded any track other than, "How soon is now?" It just rings false. Having said that: why would the editor lie? Why would he claim that the idea to match that track, to that scene, was so seemingly a passing suggestion as Fincher's text? Maybe trying to make it sound more magically improvised, rather than a dull, deliberate selection process? No idea. But all a bit too unbelievable.
i saw the movie on the phone so i couldn't get all the details. lol gotta saw again on a big screen. also i got the feeling it was trent reznor again ? but not sure either subbed
10:10 "and when' he's not in control, we start jump cutting and the camera becomes handheld. That was this sort of a general note with Dave how to approach the cutting". Wait, I'm confused here. Does that mean that all the action scenes were shot , besides handheld, with locked offs, steady cam shots, dolly shots, crane shots, etc... so the decision of only using handheld was made during the edit? Because I assumed Fincher knew beforehand whe ould only handheld shots for the moments were the protagonist loses his vantage point. If the second scenario is what actually happen... how can be an "editing rule" when you don't have anything but handheld shots? It sounds more like a directing decision than an editing one.
@@KenTWOu Case solved, then. Thank you for clarifying. Quite a bit of a heartbreaking revelation, though. I do believe shooting handheld for semantic purposes is the kind of decision any good director should be able to make before starting to shoot (and not in post). I love Fincher, so here’s my cognitive dissonance shared with you, everybody.
@@deloreanizedWell, after all it's Fincher who loves completely stabilized digital image and didn't use handheld this extensively before. So he wanted more control over how much handheld effect is needed.
Lately. The moment a sponsorship or ad pops up. I stop watching the current video.. Pls put them all at the beginning or end. Sincerely. Every TH-cam watcher
@@ginolynch I’m glad that it helped. Basically, you have wide latitude to use short example clips in an educational video of this kind. But the more you commercialise that same educational video, the trickier it gets.
Download unlimited stock media at one set price with Storyblocks: storyblocks.com/EditingPodcast
"He shoots for an editor." One of the best lessons any director can learn. A director should have as close of a working relationship with their editor as they do with their cinematographer.
Baxter starts editing the second day of shooting, when he gets the shots from day one. And they wait for his edits before they "strike" the sets, in case they need to do pick ups. So yes, there's a constant connection and feedback between the three, director, cinematographer, and editor, during the shooting.
imagine if you a director + editor
Kirk is a fucking legend. Sifting through all that coverage of each scene must be an experience to say the least but clearly there's a magic that comes from having so many options in the edit. The fight scene in The Killer being a prime example of this in my opinion.
The way you guys use the clips/editing/scenes while he’s explaining the process is GOLD, you guys crush these 🙏🏼
Totally agreed. This is a great fit film lovers as well as Fincher fans
almost like their editors...
Fincher assembles such talented teams around him. He’s a true master of his craft by understanding you need to have other masters working with you
I'm so impressed you got Kirk for an episode! He's always so generous with his interviews. So much insight. So practical. Thanks for your work with the podcast! (The incredibly precise use of inserts from The Killer throughout the interview did not go unnoticed, bravo 🔪 🎵)
Kirk's breakdown of the sniper sequence was excellent. Rare to learn this level of detail on feature editing.
00:26 🎬 Kirk Baxter, a collaborator with David Fincher, discusses his editing style and techniques, including choreographing scenes and using music for impact.
01:08 🎥 Riverside, an online recording software, offers separate audio, camera, and screen recording features, providing high-quality 4K footage for remote interviews and post-production tools.
02:28 📽 In "The Killer," efforts were made to manage blinks in critical scenes to maintain the intended rhythm and intention behind the dialogue delivery.
05:21 🎞 David Fincher's shooting style involves extensive coverage, enabling flexibility for the editor to select and craft the most impactful sequences.
07:51 🎭 Over-the-shoulder shots are preferred by Fincher for their immersive impact, despite being more challenging to film due to their complexity.
08:20 🗣 Baxter emphasizes the importance of letting dialogue lead the edits, seeking opportunities beyond simple line-cutting for a less predictable flow.
10:02 💥 In "The Killer," the editing style shifts during intense scenes, using specific techniques to mirror the character's control or lack thereof in the narrative.
11:39 🎵 Music plays a significant role in guiding the editing rhythm and pacing, often dictating the visual structure of sequences.
13:16 🎬 Baxter discusses the approach to using music selectively in films, focusing on building tension through silent moments before introducing music for impact.
15:24 🎬 The initial five minutes of a film are crucial for establishing tone and intent, often following a deliberate script intention while allowing for adjustments to engage the audience effectively.
16:48 🔍 Intent in editing involves understanding the purpose of each scene and using angles and choreography to naturally guide the viewer's focus.
18:24 🎞 Baxter explains the logistical challenge of editing scenes with limited initial visual elements, relying on intuition and iterative refinement to build coherent sequences.
21:34 🔊 Use of voiceovers in editing requires a careful balance and rhythm to avoid disrupting the flow, often necessitating adjustments in dialogue to maintain coherence.
23:51 🎬 Using intentional discipline in the editing process often involves taking a bit longer than what's comfortable to create the desired impact.
24:20 🔊 Allowing space in a film without a music track provides opportunities for sound designers to enhance scenes creatively.
25:35 🎙 Experimenting with voiceover timing and its synchronization with visuals plays a crucial role in achieving smooth and impactful storytelling.
26:08 🎭 Choreography within shots helps maximize coverage without constant cutting, allowing for impactful transitions.
27:30 🔄 Editing voiceovers and scenesinvolves constant reassessment and adjustment, often affected by changes in the script or director's preferences.
28:12 💸 Accumulating diverse footage for a film requires substantial time and budget, even for a short duration of the final edited piece.
29:22 🎥 Managing multiple angles and shots within limited spaces involves meticulous planning and attention to pacing, not continuity.
30:29 🎵 Judging the editing process can involve using music as a benchmark to measure the pace and compression of scenes without losing important content.
30:58 🛤 Establishing creative guardrails amidst overwhelming footage helps maintain focus on selecting the best pieces for storytelling without getting lost in unnecessary directions.
damn
As a cinematographer and editor I completely appreciate the enthusiasm he gives while explaining his process, very detailed and honest, which is what all of us editors need to hear because like he said although we might have edited 100 things we still have some insecurities with new processes. Also, great questions guys! the questions really helped take the conversation into more depth. I loved every min of this and you now have a new follower! 🙌
The Social Network is one of the best edited movies of all time. Each shot flows into the next one. Kirk is firmly in my top 10 movie editors.
It is a well-edited movie, absolutely, but cuts flowing one into another is relatively easy with proper planning. There are many examples of this you can find. If you mean _scenes_ flowing well into another without relying on establishing shots to place the characters etc, then yes, it's well done. However, I don't think it's the best edited film of Fincher's, and it's pretty linear. What's hard is dealing with things like jumping between different points in time, or with concurrent plotlines with separate characters and switching between them while maintaining audience attention, and joining them together at the right time. _The Girl With The Dragon Tattoo_ does this brilliantly, and it's a much more complicated plot that requires a lot more compression of events.
So much insane value and insight. Dude is a total pro. This was a great interview!
This is probably the best video I've seen on the film making process. I had no idea how important the editor is and it's amazing to see how a director (or this director, anyway) can shoot everything his editor could possibly need. Thank you for this video.
Love this podcast! So grateful for these in-depth breakdowns. It's lovely watching this and learning more about editing while I do post for my own films. It makes editing feel less daunting and more of an exciting discovery. Thank you!
You don't just ask broad questions, but also get down to the nitty-gritty with stuff like "so then you do this, this and this?" This makes these interviews SUPER useful and makes you stand out.
I’ve got my first TV standard edit coming up with lots of dialogue, and this podcast couldn’t have prepared me better! Looking forward to ‘choreographing’ my edit next week, well done lads 👏🏼
Good luck to you! Make sure to make friends with the audio team, will save everyone headaches in the end. I learned the hard way, editor's job actually starts first day of shooting, earlier you're involved the better. I hate doing ADR
Video Editors are underappreciated.
Nice to hear his honesty at 17:11 - because so many times I hear ponsey explanations of edits that were really trial and error and patience and persistent work.
This man can make any scene magnetic. The precision, the intention and sound editing is fucking amazing.
I was really impressed by the rhythm and pacing of this movie. It flows so seamlessly and seems like a near perfect balance of stillness in the mundane procedure, tension building & then intense explosions of immediate action as a result of the forward momentum. I love the drawn out execution of a task, as in a 70s crime thriller like The Mechanic, The French Connection or much of Melville's work. Simplified plot & narrative allowing for complexity to grow in the detailed environment and character. I'm a bit confused as to some reviewers saying this was unsatisfying or they didn't understand why David Fincher would take this on. It was clearly him returning to what he's known for and what he does best, a return to form & craft but with something different enough & a kind of subjective approach that we rarely see.
This channel is a gem. I’m always shocked at the low views compared to the fantastic resource these videos are!!! Keep it up guys
I could hear Kirk talk about his work and process all day 👌
Excellent guests so far, keep it up!
i wish this episode was bigger, i could hear Kirk for hours
I absolutely loved the editting on Mindhunter, the Netflix series that was also produced and partially directed by Fincher. It's an absolute masterclass.
The lack of blinking is totally deliberate.
Insightful, as someone who studied digital media it’s interesting hearing professionals talk about their work.
Dang, this is incredibly well made. Could watch a 4 hour version of this!
Nice little cut to presenter listening when Kirk is talking about cutting to the person not yet doing the talking but listening.
this was such an incredible and insightful video!, and it is amazing to know that the iconic , 6 sentence dialogue - anticipate , not improvice .... - was added dialogue to fill an edit !!
One of the greatest fight scenes of all time in this film.
This was the video that the internet needed 🙏
Awesome Talk Guys! So much to learn here. Instant Follow! Thanks a lot!
Fantastic work as always fellas - It's really good to see you're able to sit down with these big players from traditional and create a free platform for them to share their knowledge. Keep doin what you're doin!
Hearing a seasoned pro like Kirk sit there and say "We end up in situations not by formal training but just by the 10,000 hours... and most of the time I start off thinking 'I don't know what the fuck to do'" - that was SO encouraging. As someone who's clocked my 10,000 hours, I still feel an immense imposter syndrome at the beginning of every project, and knowing that even people like Kirk have the same feelings is immensely validating.
Superb work, guys. This video will become a reference for Fincher enthusiasts and editing students.
Great interview. i could listen to him talk about his process for hours.
this really is some in depth, solid and experienced guidance on the actual process and artform of editing.
Good stuff guys
This. Is. Gold.
One of the most remarkable non-blinking takes I've ever seen (pun intended) is in the opening poker-game shot of Butch Cassidy and the Sundance Kid. Robert Redford doesn't blink for so long that, try as I might, I can't keep up with him without my eyes watering uncontrollably. I'd probably watched that movie a half-dozen times without noticing that detail, and now it is just so brilliantly obvious.
Fincher having trent and atticus is also a major plus. The gone girl scene has an excellent soundtrack that really make the scene feels shorter than it really is.
haha I like that. World class editor begins every project thinking I don't know what the fuck to do.
24:12 I remember a shot from the beginning of "Zodiac". when the couple watches the Zodiac´s car as it vanishes into the night - and the cut comes just a little bit too late which makes it immediately unsettling. Great interview and video!
loved this so much, thankyou for the teachings.
Most masterful edits in modern cinema… the economy, intention and fidelity of animation.
Every frame erupts purpose & interest. Can’t peel my eyes off the screen, like sucking on candy it’s compulsive.
I could listen to Kirk all day
amazing video and what a genius he is. I loved the questions thank you! more of this please
@editingpodcast
I just want to say: MANY THANKS
Excellent interview. And perfectly edited as well, bravo!
What a fantastic interview.
great interview, loved the editing : )
How interesting. I always thought that the better people got, the more intent they entered the edit with. This guy has a similar process to me where it’s more put something together that sucks and refine it till it’s good
Opposite of Dodford who seems to have an exact idea before production begins. Different genre though. Cool 👍🏾
This is freaking gold.
Fantastic! Thanks for posting.
This was a great discussion, thank you!
such an amazing movie on every level
great insights here. i watch kirk's facemash scene weekly
The most hilarious editing in this is the editing back to the kid with the glasses constantly nodding and smirking the whole time.
This is gold. thank you !
I am a novice when it comes to film editing, although I love the art (and do it for 1 min videos at best). The first thing I noticed in this film was the uniqueness of the sound editing ... I just thought ... okay now this is something fresh! Now, after enjoying this video so much (I just discovered your channel btw, and have subscribed) ... I'm gonna watch #TheKiller again to appreciate the video editing! Love this!
Fantastic content. Really enjoyed this!
Congrats on the 100K SUB WOOOOOOOOOOOOOOOOOOOOOOOOOOOOO
Best highlights of this video is when Editor cuts to your headbobble in agreement...
BRILLIANT. thank you guys so much for sharing this interview. priceless insight.
I was thinking about this exactly while watching. "look! Fassbender is doing the try not to blink, big time"
Well done. Thanks for this. Without Kirk it would not be the same movie.
I was impressed with the impact sounds of the glass bong and how it didn’t break after the first 2 hits. However, I feel like a bong of that quality wouldn’t have shattered like that in any way shape or form, especially not from the kinetic impact of a muscle-head human. After the first 2 minutes of this video I paused it and watched ‘The Killer’ and was hooked from the start because of the music/sound design.
Does anyone know if there’s any special meaning/significance regarding the Buddha? The scene I'm talking about is roughly 1:37:17 into the film. The Killer enters an underground parking lot/lobby - “you’ve arrived at your destination” comes from Google Maps, the Killer looks up to see a portrait of Buddha hanging on the wall. The way he looks at it makes me feel its significant to him at the time, like a synchronicity of something his ‘inner voice’ was thinking before arrival; he wasn’t listening to music at the time of the Buddha sighting, he was intensely looking for someone to judge their position in his plan.
The shot after also shows the Buddha, right before a van drives in front - taking your eye off the Buddha and onto the next vehicle - (the vehicle with the person who is the target of the killer). Perhaps both of these Buddha shots were just ways to get my eye to flow around the screen and land on the flower like it did ever so slightly, like a bee.
its ok if this comment makes no sense to you, I just got defensive over the bong because I know quality glass 😂📷🌿
Great conversation. Great unpacking.
This was so good. Thanks guys.
22:11 So I guess some of the narrations were added after to fill the gap in sound? No wonder it felt like an afterthought...to me at least
Instant subscribe. I'm glad I found this channel. Thanks for the great content.
Welcome aboard!
FANTASTIC EPISODE, GUYS! I learned so much. Thank you.
Nice use of what he’s talking about at 8:41 boys 😎
Thank you!
Great chat
Cool vid/good stuff, but holy moly how does no-one know about the blinking thing at this point if they even have an interest in movies ("advanced technique"!)? Michael Caine has been talking about it for half a century!
I blinked so many times while watching this
So, speaking as an illustrator, doing multiple takes makes a lot of sense. When painting a painting or large, finished piece, I will do as many, smaller, simpler drawings/ideas to choose from. It’s just logic
I learned so much
Hi! Just starting out. Launch in January. ISO editor for 1-3 and 7-10 min vids. 😊
Incredible insights
Damn can’t believe you goto him on here more angus!!!!!
And on top of this he has good taste in glasses frames
Fantastic! :D
Great job guys... like he said, it's a choreograph... that's almost universal within this art, as is problem solving, or delicately choosing which elements serve the narrative and coldly eliminating, like a killer, those which don't
10:46 : When he says “I’m slightly clipping action”, what does he mean?
Cutting a few frames for look faster
Fun Fact: Fincher took 99 Takes on that Bar Scene in The Social Network.
Brilliant!
Kirk fucking Baxter , this is sooooo cool
Hello,
May I please know which camera and mic you use for recording podcasts?
I see that you're trying Mr. Beasts technique of having the first 5 seconds of the vid resemble the thumbnail. I thought my computer froze LOL
20:34 I don't believe that the director just texted the editor saying, "Try The Smiths 'How soon is now?'"
It almost sounds like the idea to use The Smiths was an off-hand idea, when surely a decision as grand as the licensed music to be used throughout the film was one meticulously reached.
Even if everyone knew The Smiths' songs were to be used, and all tracks decided, but perhaps not which track would play with which scene, it doesn't sound likely that this first scene introducing The Smiths as the running theme of the assassin's work, would be afforded any track other than, "How soon is now?" It just rings false.
Having said that: why would the editor lie? Why would he claim that the idea to match that track, to that scene, was so seemingly a passing suggestion as Fincher's text? Maybe trying to make it sound more magically improvised, rather than a dull, deliberate selection process? No idea. But all a bit too unbelievable.
If you watch it again I think he means that Fincher asked to try blowing changing the volume to the track based on the pov, maybe…
That fight scene looks like a videogame cutscene. Was the shaking digital? Something wasn't real in that.
i saw the movie on the phone so i couldn't get all the details. lol
gotta saw again on a big screen. also i got the feeling it was trent reznor again ? but not sure either
subbed
If we were to get a sequel which I actually think is not that far fetched it would definitely be a killer
Amazing
the whole video I was just focused on how much I'm blinking
Wonderful content and channel. :)
10:10 "and when' he's not in control, we start jump cutting and the camera becomes handheld. That was this sort of a general note with Dave how to approach the cutting". Wait, I'm confused here. Does that mean that all the action scenes were shot , besides handheld, with locked offs, steady cam shots, dolly shots, crane shots, etc... so the decision of only using handheld was made during the edit? Because I assumed Fincher knew beforehand whe ould only handheld shots for the moments were the protagonist loses his vantage point. If the second scenario is what actually happen... how can be an "editing rule" when you don't have anything but handheld shots? It sounds more like a directing decision than an editing one.
It was confirmed in one of the interviews that handheld shake effect was added in post production.
@@KenTWOu Case solved, then. Thank you for clarifying. Quite a bit of a heartbreaking revelation, though. I do believe shooting handheld for semantic purposes is the kind of decision any good director should be able to make before starting to shoot (and not in post). I love Fincher, so here’s my cognitive dissonance shared with you, everybody.
@@deloreanizedWell, after all it's Fincher who loves completely stabilized digital image and didn't use handheld this extensively before. So he wanted more control over how much handheld effect is needed.
Lately. The moment a sponsorship or ad pops up. I stop watching the current video.. Pls put them all at the beginning or end. Sincerely. Every TH-cam watcher
What at master class
Brilliant episode. There’s a ton of footage from the movie was there any copyright issues with that? Did you have to get permission?
en.wikipedia.org/wiki/Fair_use Under the four factor test, there shouldn’t be a problem.
@@TheGreatAmphibian thanks for posting this article very informative!
@@ginolynch I’m glad that it helped. Basically, you have wide latitude to use short example clips in an educational video of this kind. But the more you commercialise that same educational video, the trickier it gets.