How Stephen Shore’s Photographs Inspired Netflix’s Mindhunter

By Alexxa Gotthardt
November 23, 2017
Artsy

In the first scene of the Netflix crime show Mindhunter, the camera trails a car through the run-down streets of small-town Braddock, Pennsylvania. We don’t know that it’s 1977, or that someone will be offed in the next five minutes—but the setting provides clues. It’s a rainy night lit only by moody street lamps and the beams of an AMC Matador police car. The nearby buildings ooze seediness.

The scene is lonely, unglamorous, and wildly intriguing. It’s also resolutely American—and whisks viewers swiftly back to the 1970s.

It’s perhaps unsurprising, then, that the show’s creators were inspired by the pioneering U.S. photographers of that decade—namely, the great Stephen Shore, whose career spent capturing backroads, motel rooms, and lunch counters across America is currently being celebrated in a retrospective at the Museum of Modern Art. “Since Mindhunter is a period piece, photography from the era was hugely helpful to all of us,” the show’s cinematographer, Erik Messerschmidt, tells me from Los Angeles.

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George Michael and David Fincher’s “Freedom! ’90” Music Video Gets a 4K Remaster

2017-11-09 Studio Daily - George Michael and David Fincher_s “Freedom! _90” Music Video Gets a 4K Remaster 03

Headjar Productions Scanned More Than 30,000 Feet of Archival Footage for Channel 4 Documentary

By Bryant Frazer / November 9, 2017
Studio Daily

An iconic music video has gotten a rare 4K remaster. As part of a documentary project for U.K. broadcaster Channel 4, director David Fincher’s promo clip for the late George Michael’s “Freedom! ’90” featuring supermodels Naomi Campbell, Linda Evangelista, Tatjana Patitz, Christy Turlington and Cindy Crawford has been rescanned from the original camera negatives at 4K on a Blackmagic Design Cintel Scanner and graded in Blackmagic DaVinci Resolve Studio to match the look of the original, NTSC-resolution music video.

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Blackmagic Cintel Scanner Used on Channel 4 George Michael Documentary

November 8, 2017
Black Magic Design

Netflix Delivers a Killer Serial Killer Series: Production on David Fincher’s ‘Mindhunter’

In addition to serving as co-executive producer for Mindhunter, Fincher directed four hours of the 10-episode season.

By: Kevin H. Martin
10/26/2017
Creative Planet Network / Digital Video Magazine

The first masterpiece from filmmaker David Fincher was his feature film Se7en, a procedural featuring one of the most memorable serial killers ever committed to celluloid. Ten years ago he returned this dark territory with Zodiac, an adaptation of the true-life case involving a still-unknown killer who struck repeatedly throughout the San Francisco Bay area. In the years since, Fincher helped launch House of Cards (an adaptation of the successful UK series) for Netflix. He comes back to the crime investigation genre with Mindhunter, a 10-part streaming series that launched on Netflix on Oct. 13.

[…]

In addition to serving as co-executive producer for Mindhunter, Fincher directed four hours of the 10-episode season, with Christopher Probst shooting the pilot installment. The other directors were Asif Kapadia, Tobias Lindholm and Andrew Douglas.

Cinematographer Erik Messerschmidt shot part of episode two, along with the remaining eight episodes. Messerschmidt had served as gaffer on Fincher’s most recent feature, Gone Girl. He pulled double duty on this fall’s Granite Mountain, gaffing and shooting 2nd unit—the latter a duty he performed for next year’s Sicario follow-up, Soldado, as well. “Fincher was very involved in the process, which is to be expected. He was there every day,” Messerschmidt says.

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2017-10-26 Creative Planet Network - The Plate Van

Crime Scenes: Evolving the Postproduction Process on ‘Mindhunter’

I recently spoke with Tyler Nelson, one of the four series editors, who was given the opportunity to move from the assistant chair to that of a primary editor on ‘Mindhunter.’

By: Oliver Peters
10/26/2017
Creative Planet Network / Digital Video Magazine

How Mindhunter filmed using a customised camera

by Hannah Gal
30/10/2017
KFTV

Erik Messerschmidt was director of photography on Netflix‘s Mindhunter – he talks about using a customised camera with David Fincher.

As a hard working gaffer, Erik Messerschmidt has reached the top of his profession, but his ambition has always been to work as a cinematographer.

His break came when David Fincher asked him to join Netflix’s new project. The director had previously worked with the cinematographer on the 2014 domestic thriller Gone Girl and signed on to Mindhunter, a story that traces the development of the FBI’s understanding of criminal science in the 1970s. Fincher directed four of the show’s ten episodes and was an executive producer on the full series.

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Here's another behind the scenes pic from the set of Mindhunter @netflix. This was one our fabulous sets constructed by production designer Steve Arnold on our "tin shed" stages in Pittsburgh. Shepherd's office had the wall located behind his desk built with an invisible track that could raise the wall up, allowing us to get this angle behind the often flabbergasted FBI chief. Outside the windows we had large greenscreens, but in instances where we didn't see the green, I opted to wheel in day-blue frames to provide a more natural color temp coming in through the windows… and do note that daylight often has two components, direct sunlight and sky… you can see this effect play on the vertical blinds… effectively creating the feel of exterior light MUST take all of these ides into account. . #mindhunter #davidfincher #netflix #cinematography #reddigitalcinema

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DP Erik Messerschmidt on Shooting Netflix’s Mindhunter with a Custom Red Xenomorph

by Matt Mulcahey
Oct 26, 2017
Filmmaker

When mere mortals gear up for a job, they are restricted to selecting cameras currently in existence. Not David Fincher.

Fincher has long hated all the gak required to make a digital cinema camera functional: a wireless transmitter to get signal to video village, the add-ons to provide wireless iris and focus control, the assistant camera’s onboard monitor hanging off the side — all the things that turn a small, lightweight camera body into a labyrinth of cables and breakout boxes.

Red Digital Cinema responded by making Fincher his own set of custom Weapon Red Dragons for use on the new Netflix series Mindhunter—each with the features listed above built into an ergonomically friendly camera christened the Xenomorph. Put a lens on the front and a battery on the back and the Xenomorph is ready to rock and roll.

On Mindhunter, cinematographer Erik Messerschmidt reaped the benefits of that smaller camera footprint. Messerschmidt spoke to Filmmaker about his work on the new series, which follows the fictionalized story of the agents (Jonathan Groff’s Holden Ford and Holt McCallany’s Bill Tench) who started the FBI’s psychological profiling program in the 1970s by interviewing incarcerated serial killers.

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2017-09-22 Alison Leigh Evans (Instagram) - Mindhunter Camera Department Xmas Decorations [EDIT]Mindhunter Camera Department Xmas Decorations (Alison Leigh Evans, Instagram)

Art of the Shot: Mindhunter cinematographer Erik Messerschmidt

Reported by Joe Frady

Working with David Fincher, the RED XENOMORPH, CW Sonderoptic Leica Summilux-C lenses and shooting for Netflix

By David Alexander Willis
October 23, 2017
ProVideo Coalition

Shot with a tailor-made RED camera, the RED XENOMORPH, auteur David Fincher chose cinematographer Erik Messerschmidt to helm camera for his latest, and possibly most ambitious project, the 10-episode Mindhunter series. Based on the novel Mind Hunter: Inside the FBI’s Elite Serial Crime Unit, Messerschmidt lensed actors Jonathan Groff and Holt McCallany during the extended production as they play FBI agents Holden Ford and Bill Tench. Focusing on the precocious criminal psychology work of the 1970s, the show centers on the duo as they attempt to understand the mind of a serial killer. Mindhunter is available to watch via Netflix now.

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A monitor grab from a scene appearing in Ep. 3 of Mindhunter @netflix… Scheduling necessities required several sequences for Episodes 3 and 7 to be fitted into the schedule for our Eps. 1 and 2 "pilot block" shooting schedule. This scene takes place in the Sacramento storyline continued from Ep. 2, where our intrepid heroes (@holtmccallany and Jonathan Groff) help catch a killer of elderly women. This scene and others in the detective's bullpen downstairs, and outside (where their car has its wheels removed) were all shot in the former Daily News newspaper headquarters in McKeesport, PA. This shot was lit almost entirely with the selective use of practicals. I had the overhead bulbs switched to legacy Warm White tubes, added some desk lamps and used a fair amount of haze on set… In fact, a little more about the look: During prep, I created master visual bible for the evolution of the series, which will ultimately span three decades, and laid out an evolution in the visual design of the show. The 1970s would use Warm White tubes and Sodium Vapor streetlights outside, as well as heavy use of atmosphere from cigarette smoke. We also had custom 92mm screw-on 1/2 Low Con filters from @tiffencompany made for the @cwsonderoptic Leica Summilux-C lenses to be used throughout the first season… The 1980s in future seasons would see a progression toward Cool White fluorescents, Mercury Vapor streetlights and losing the low cons. The 1990s, would switch to color corrected fluorescents (no green) and neutral street lighting. Resolution and gamma may also evolve as the show progresses… w/ @camgrip @mtnbikethis @alex_w_scott @murnorama @reddigitalcinema. . #mindhunter #davidfincher #reddigitalcinema #redxenomorph cameras

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