Erik Messerschmidt on the set of Mindhunter (Merrick Morton / Netflix)
“If a Director Feels the Need to Move the Camera Simply to ‘Make It Interesting,’ It’s Likely an Indicator the Scene Itself Isn’t That Interesting”
When David Fincher transitioned from music videos to feature films in the 1990s, the descriptors “glossy,” “slick” and “stylized” were frequently affixed to his work. Those adjectives were often aimed as pejoratives, categorizing Fincher as a technical virtuoso who created shiny but hollow thrillers.
Watching the second season of Netflix’s Mindhunter—executive produced and partially directed by Fincher—the evolution of the filmmaker’s aesthetic is striking. As FBI profilers Bill Tench (Holt McCallany) and Holden Ford (Jonathan Groff) interview America’s most notorious serial killers, the camera rarely moves. Instead, it unobtrusively observes.
What hasn’t changed over the years is Fincher’s unwavering exactitude, exemplified by the show’s almost mathematically meticulous compositions. Cinematographer Erik Messerschmidt is the guardian of that precision, carrying season two’s restrained yet formal style across episodes directed by Fincher, Andrew Dominik (Killing Them Softly) and Carl Franklin (One False Move).
With season two now streaming on Netflix, Messerschmidt spoke with Filmmaker about the necessity of HDR monitoring, creating faux-anamorphic effects, and his hockey puck-sized secret weapon for eye lights.
Filmmaker: It’s been two years since season one of Mindhunter, which you shot on custom Weapon Red Dragons (nicknamed Xenomorphs). I guess it shows how quickly camera technology is changing, because since that time Red has gone to a universal DSMC2 brain and the Dragon sensor is only in their lowest-cost camera. Now the Monstro 8K VV and the Helium 8K S35 are Red’s top-of-the-line offerings. Did you change cameras for season two?
Messerschmidt: For season two we switched to Red’s Helium sensor, shooting in 8K 2:1 with 8:1 compression. Out of the 8K raster we framed for a 6.5K extraction area, which left room for stabilization in post. We did extensive lighting, color and workflow tests prior to the decision to switch camera sensors and ended up loving the results of the Helium. We found the noise floor to be substantially lower, the color fidelity to be better and the sensitivity to be higher than the Dragon.
Filmmaker: Did you have any additional custom Xenomorph tweaks for the new cameras?
Messerschmidt: For season two Red built us a new model of the Xenomorph dubbed the Mark II. The new body included the DSMC2 brain with the Helium sensor. It was upgraded with redesigned cooling, integrated lens motors and the new Teradek Bolt video transmitters.