Eric Weidt talks about his collaboration with director David Fincher – from defining the workflow to creating the look and feel of Mindhunter. He breaks down scenes and runs through colour grading details of the masterful crime thriller.
Eric Weidt spent years in Paris working with fashion photographers transitioning from traditional film to digital capture workflows. He created custom film-emulation ICC profiles, and mastered color work and compositing techniques for print stills and fashion films.
Clients included Mario Testino, David Sims, Patrick Demarchelier, Mert Alas and Markus Piggot, Steven Meisel, Hedi Slimane, Karl Lagerfeld. His motion picture work for David Fincher includes responsibilies as VFX artist (Gone Girl), and Digital Intermediate Colorist (Videosyncracy and Mindhunter).
He holds a BA in Theater Arts from the University of California at Santa Cruz and is both an American and French citizen.
Alex Thomson, BSC — one of Britain’s premier cinematographers — creates images of dazzling perfection, richness and clarity, images which have graced some of the most exquisite-looking films in recent memory: Legend, Ridley Scott‘s epic fairytale; Eureka, Nicholas Roeg‘s influential retelling of Citizen Kane; and Excalibur, John Boorman‘s visually magnificent approach to the King Arthur legend.
Though Alien3 is ideal subject matter for Thomson’s rich photographic style, he might never have lent his expertise to the project had it not been for one of the greatest triumphs and tragedies of his career. Late in 1990, Thomson had been chosen by one of the world’s undisputed filmic masters to photograph what promised to be his final masterpiece: the director was David Lean; the project was Joseph Conrad‘s Nostromo.
Unfortunately, Lean took ill and died, Nostromo shut down and a saddened Alex Thomson returned to London, wondering what he would do next. “I came back from France on a weekend and they called me on Monday to see if I could take over on Alien3,” Thomson recollects. “I started work on Tuesday, which was about a week and a half into production. I was happy to do it; it kept my mind off what might have been.” (There is a certain karmic irony to Thomson’s twist of fate. As fans of the first Alien film will recall, the spaceship in that picture was dubbed the Nostromo.)
Behind the camera, Alex Thomson, BSC watches intently as operator David Worley lines up a shot on Charles Dance as Sigorney Weaver stands by.
The production history of Alien3 is a troubled one. Before Thomson joined the film, its first director, New Zealander Vincent Ward — one of a slew of directors who had been attached to the project during its lengthy pre-production phase — had been replaced by rock video director David Fincher. Thomson was hired when the film’s original cinematographer, Jordan Cronenweth, ASC (Blade Runner) left the production.
Many cinematographers might feel stifled by a production where the original look had already been determined, but not Thomson. “I had no problem with following in Jordan’s footsteps because his approach was so right,” he enthuses. “It was marvelous to be pointed in the right direction by a man of his caliber.”
First-time feature director Fincher, for his part, is an award-winning rock video director with a background in visual effects storyboarding at ILM. “To take something over like this at 28 must’ve been quite awe-inspiring, but he handled it as if he’d done 20 pictures,” Thomson relates.
Going inside Mindhunter Season 2: there’s a contradiction at the heart of Mindhunter, the highly rated Netflix drama. For all the efforts of creator David Fincher and cinematographer Erik Messerschmidt to craft a minimalist aesthetic for this ripped-from-the headlines chronicle of the modern serial killer and its FBI profilers, the show itself continues to win plaudits for how it stylistically marries editorial with subject.
Season 1 was lauded for shining a light onto this particularly murky corner of the criminal psyche with its desaturated cinematography. “David and I continued with what we had put together for the first season,” Messerschmidt explains. “If anything, Season 2 is even more structured and formalist. That classical aesthetic is driven a lot by the content. The show is very measured in its approach to a story about serial killers so we felt the photography should be restrained and simple.”
Miles Crist / Netflix
Messerschmidt photographed all nine episodes of the new season which returned to Netflix after a two-year hiatus. Directors Andrew Dominik (The Assassination of Jesse James by the Coward Robert Ford), Carl Franklin (House of Cards) and Fincher took charge of blocks of three. Before taking responsibility to shape the look of Mindhunter’s first run, Messerschmidt had worked as a gaffer on shows like Mad Men and Bones, and then the feature film Gone Girl where he first came into contact with Fincher.
Definitive if subtle changes were made for Mindhunter’s latest season, the most notable of which was shooting with the custom XENOMORPH with HELIUM 8K S35 sensor and being able to monitor HDR on set.
Cinematographer Jeff Cronenweth, ASC lensed his first feature, “Fight Club,” in 1998. He earned Best Cinematography nominations from the Academy of Motion Picture Arts and Sciences and the American Society of Cinematographers for two more collaborations with director David Fincher, “The Girl With the Dragon Tattoo” (2011) and “The Social Network” (2010). Cronenweth also shot Fincher’s “Gone Girl” (2014), Kathryn Bigelow’s “K-19: The Widowmaker” (2002) and Sasha Gervasi’s “Hitchcock” (2012). He recently completed director Sam Taylor-Johnson’s “A Million Little Pieces,” based on the literary hit.
In addition to his feature career, Cronenweth is known for his stylish and CLIO Award-winning music videos and commercials. In the last two years he shot music videos for Katie Perry, Jennifer Lopez, Pink, Maroon 5 and Taylor Swift. A native Angelino, Cronenweth studied filmmaking at the University of Southern California (USC) and began his professional career apprenticing to some of the industry’s greatest cinematographers, including Sven Nykvist, ASC, John Toll, ASC, Conrad Hall, ASC and his father, the late Jordan Cronenweth, ASC.
Cronenweth, behind the camera A on left, and his crew set up double coverage for a scene between Tyler Durden (Brad Pitt) and the film’s nameless narrator (Edward Norton). On the right, B camera operator (and future Panic Room cinematographer) Conrad W. Hall. (1999, Merrick Morton)
What was your pathway into this field?
“My great-grandfather owned a photo store in Pennsylvania. My dad’s dad won the last Oscar given for portrait photography: He was a staff photographer for Columbia [Pictures]. My grandmother was a Ziegfeld Follies dancer. My dad [Jordan Cronenweth, ASC] won a BAFTA for ‘Blade Runner’ (1983) and got an Oscar nomination for ‘Peggy Sue Go Married’ (1987). So as a child I often visited sets and went on location for extended stays. I felt like I wanted to be part of that great experience, that camaraderie. Each day was like a military unit battling to bring back great images.
“I knew I wanted to do something in the industry: I had been around it all and found it all so exciting. I made many Super 8 films in high school and decided USC (the University of Southern California) was where I wanted to attend film school. But two years into school Film Fair, a commercial production company my father had collaborated with, had a position open for a staff loader and that job offered the opportunity to get into the union. I visited my dad as often as I could when he was shooting ‘Blade Runner’ and assisted him on other movies as a camera operator and on second unit. A lot of relationships I formed then carried over when my dad retired.
“I met [director] David Fincher on a Madonna video my father photographed and I shot second unit for in the heyday of music videos – it was a very creative and innovative time, and I was grateful to be there. I was his camera assistant on the documentary ‘U2: Rattle & Hum’ (1988) and the film ‘State of Grace’ (1990), both directed by Phil Joanou, a former USC film school classmate. Then I got my first feature as a cinematographer, ‘Fight Club,’ with Fincher. Not a bad credit for the first time out of the gate!”
Mindhunter is not like other crime shows. In this video essay, Thomas Flight explores some of the inventive techniques creators Joe Penhall and David Fincher employ to inject drama and conflict into the show.
This is a detailed analysis of the ways in which Mindhunter pulls the audience into the lives of its characters as they explore the minds of some of the worst criminals on earth.
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.