Art of the Shot: “Start from Perfect”, with Mindhunter DP Erik Messerschmidt, ASC and “A” Camera Operator Brian Osmond, SOC

Erik Messerschmidt, Director Andrew Dominik, Brian Osmond, and “B” Camera Operator Will Dearborn (Nikolai Loveikis)

Derek Stettler
October 12, 2020
Art of the Shot

“A place to unload all my cinematic truths.” —Newton Thomas Sigel, ASC

How do you cultivate a career in Hollywood? What does it take to make iconic work? There’s an art to everything in life and the Art of the Shot explores the answers to those questions and more through deep-dives into the minds of master filmmakers. Join host Derek Stettler, young filmmaker and writer for the ASC and SOC magazines since 2016, as he learns from the artists behind today’s most strikingly-shot projects. Enjoy compelling conversations on the craft, insights from successful careers, tips, techniques + more!

In this episode, you’ll hear from both the cinematographer and the “A” camera operator of Mindhunter, who worked together throughout Season 1 and 2 to shoot every single episode. Please enjoy this exclusive interview with Erik Messerschmidt, ASC and Brian Osmond, SOC!

Brian Osmond, Gaffer Danny Gonzalez, and Erik Messerschmidt (Nikolai Loveikis)

In this episode, you’ll learn:

– Erik’s career path (00:04:06)
– Erik’s favorite part of the job (00:06:42)
– What DP’s should know to best work with their gaffers, from Erik’s experience working as a gaffer before becoming a DP (00:07:02)
– Unique skills Erik gained from his experience as a gaffer (00:07:56)
– How Brian got his career started (00:11:19)
– Brian’s favorite part of his job (00:12:19)
– What other directors can learn from how David Fincher treats his crew (00:18:39)
– The thought process & techniques behind Mindhunter‘s precise camera movement (00:22:50)
– The strategic use of handheld camera operating (00:34:27)
– The collaborative nature of the Mindhunter set (00:37:34)
– The importance of having a dedicated camera operator on set, especially on a David Fincher set (00:41:19)
– Erik’s role as “quality control supervisor” (00:44:21)
– Why a monitor on a David Fincher set is covered in smudges (00:46:57)
– Why there’s no such thing as a B camera “bonus shot” on Mindhunter & how shots are planned out for multiple cameras (00:48:23)
– What Erik thinks is the hardest shot to do well (00:52:04)
– How Erik lights & shoots with 2 cameras simultaneously (00:53:41)
– Erik’s approach to lighting Mindhunter & techniques used (00:56:55)
– Erik’s preference for real fluorescent lighting (01:03:30)
Mindhunter‘s production design and how much of the locations were built (01:05:01)
– Favorite set of Season 2 (01:06:26)
– How getting scripts in advance helps them work better (01:10:44)
– The innovative car process shooting on Mindhunter & how it works (01:12:38)
– How virtual production helps realize every filmmaker’s dream, stopping time, & how Erik used that to shoot a 9-minute dialog scene at dawn (01:18:02)
– How the car process shooting on Mindhunter evolved from Season 1 (01:22:37)
– How the custom RED digital cinema camera, dubbed the Xenomorph, evolved from Season 1 (01:27:22)
– Why Brian prefers a fluid head over a geared head to achieve those smooth, precise shots David Fincher loves (01:37:34)
– How to shoot a scene & why “Fix it in prep!” should be every filmmaker’s mantra (01:42:08)
– All about the lenses used on Mindhunter & how Erik art directed the artifacts & nuances of every optical aberration (01:48:10)
– Tips from Brian on getting really precise shots with a fluid head, what operating technique Erik has learned from Brian, & how being self-critical is a key to his success (01:56:42)
– What Erik & Brian feel is the most rewarding part of working on Mindhunter (02:02:47)

If you haven’t yet, please be sure to subscribe to be notified of future episodes, and share this podcast with others to help grow the show and spread the knowledge!

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The Art of the Shot podcast is brought to you by Evidence Cameras, an outstanding rental house in Echo Park specializing in high-end digital cinema camera packages, lenses, support, and accessories.

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MINDHUNTER: Mindful Operating

Interview with Brian Osmond, SOC.

Derek Stettler
May 2018 (Spring 2018)
Camera Operator (Society of Camera Operators)

MINDHUNTER: Mindful Operating

Operator Brian Osmond, SOC and dolly grip Dwayne Barr push in on a dialog scene between Anna Torv and Jonathan Groff (Merrick Morton / Netflix)

With Brian Osmond, SOC.

Derek Stettler
May 2018 (Spring 2018)
Camera Operator (Society of Camera Operators)

With Mindhunter, Netflix reunites with director David Fincher for the first time since he helped the streaming service launch into original programming with their first series, House of Cards. In Mindhunter, Fincher’s attention to detail proved a perfect match for creating the dark world of obsession and intrigue that is the true story of the origin of the FBI Behavioral Science Unit. Based on the real-life experiences of FBI special agent, John Douglas, who pioneered the practice of psychological profiling, Mindhunter takes place in the 1970’s and follows two FBI agents who radically expand criminal science as the study the methods and motivations of serial killers. But getting so close to real world monsters has consequences, and their encounters with the darkest of humanity begin to change them and the way they work.

Read the full interview:

Thanks to Andrew Moore