PIX vs. Back-to-One

Since the debut of Panic Room in 2001, PIX has formed a robust partnership with David Fincher and his production company No. 13, leading to the development of innovative tools and services that have greatly impacted the filmmaking and television production industries. Fincher, an early pioneer of digital cinematography, made notable use of the Thomson Viper during the production of Zodiac, and his team consistently strives to push technological boundaries to seamlessly integrate production and post-production workflows, with a focus on automating repetitive tasks while elevating their artistic vision. In the critically acclaimed series Mindhunter on Netflix, Fincher harnessed state-of-the-art digital capture technology, employing custom-designed RED Xenomorph cameras that integrated essential components like wireless video transmitters and focus controls into a more intuitive design. Nevertheless, Fincher's pursuit of innovative solutions extended beyond camera technology; he once again turned to PIX for additional enhancements to fuel his creative projects. This collaboration not only exemplifies their shared commitment to progress but also continues to shape the future of cinematic techniques in remarkable and unforeseen ways. The ongoing synergy between Fincher and PIX highlights the importance of collaboration in the ever-evolving landscape of film and television production.

Back-to-One is an all-encompassing application tailored for directors and cinematographers in the film and television sector, specifically designed for use on iPads and Macs. This innovative tool enables users to strategically position actors, cameras, lighting, and walls within a top-down interface, which then generates a comprehensive shot list, an animated blocking visualization, and a viewfinder preview that accurately reflects real sensor sizes and focal lengths across six different formats, including anamorphic. The application features a bidirectional synchronization between the canvas and the shot list, ensuring that any adjustments made are immediately updated in real-time. Instead of organizing the shot list by scene, it categorizes shots by camera setup, facilitating a more intuitive workflow that mirrors the actual shooting sequence. Each shot comes with a time estimate, along with cumulative totals for every setup and an overall tally for the day. While on set, users can mark shots as completed in real-time, and the app also offers dim and red-light modes to improve visibility during low-light conditions. Furthermore, users can import their screenplays in FDX or PDF formats, automatically creating a project that encompasses all scenes and characters. The application also supports exporting set PDFs customized for each camera position, along with call sheets, lighting diagrams, and shot lists in various formats such as PDF, Excel, or CSV, thereby providing a well-rounded solution for both pre-production planning and on-set organization. This functionality empowers directors and cinematographers to concentrate on their creative vision while effortlessly managing the logistical elements of their projects. Ultimately, Back-to-One enhances the collaboration between creative and technical teams, streamlining the filmmaking process.