In a new series of in-depth interviews with Society members, ASC Insights provides the cinematographer’s perspective on today’s most pertinent topics. The first two episodes cover High Dynamic Range (HDR) from the director of photography’s view.
Episode One discusses the implementation of HDR in postproduction as a deliverable and features the insights from Markus Förderer, ASC, BVK; Polly Morgan, ASC, BSC; and associate member and colorist Dave Cole. The episode examines scenes from Independence Day: Resurgence, the F/X series Legion and the short film Mandy.
Episode Two examines the implementation of HDR throughout the entire workflow from set to post and features thoughts from Erik Messerschmidt, ASC; Marshall Adams, ASC; and colorist Dave Cole. The members discuss scenes from Netflix’s Mindhunterand El Camino: The Breaking Bad Movie.
For both episodes, ASC associate member and American Cinematographer contributing editor Jay Holben discusses the ins and outs of HDR, the benefits and pitfalls and how important it is for the cinematographer to be involved in the postproduction implementation of HDR. The key to the format is in expanding the palette of creative intention for the filmmakers, not in merely delivering a brighter picture.
There are many reasons why there’s a general wave of excitement whenever there’s a new David Fincher movie. That’s particularly been the case with Mank considering the six-year gap since Fincher’s last film Gone Girl, roughly half that time in which Fincher was making the series Mindhunter for Netflix.
Most of Fincher’s fans within and outside the industry see the filmmaker as a modern master of the visual medium, and Mank offers further proof of this with stunning shots recreating Hollywood in the ‘30s and ‘40s, fully realized background environments in which well-known icons from the era discuss the political climate of the times, both in the country and in Tinsel Town itself. At the center of it all is Gary Oldman’s Herman Mankiewicz, the illustrious screenwriter who would win a shared Oscar for co-writing Orson Welles’ Citizen Kane.
One person who has been along for the ride watching Fincher’s rise as a visionary filmmaker is Peter Mavromates, whose first film with Fincher was 1997’s The Game, but who first met the director on a Michael Jackson video and a commercial he directed. Mavromates has worked in post for over 35 years, as one of the first to champion the benefits of combining analog film with digital post, producing his first DI (Digital Intermediary) for Fincher’s 2002 movie, Panic Room, which was shot on analog. Five years later, he did the same for Zodiac, Fincher’s first digitally-shot film.
As Fincher’s Post-Production Supervisor, Mavromates’ duties continued to expand and evolve, his duties involving all the budgeting and hiring when it comes to the post process. “I like to describe it as once the image is captured, it becomes my problem,” he told Below the Line over a Zoom call a few weeks back.
Earning your stripes as a cinematographer can be hard enough. But the prospect of shooting your first movie with a Golden Globe, Primetime Emmy and BAFTA Award-winning director, about one of the greatest films of all time, starring some of the best actors working today, and capturing it all in HDR B&W, would seem perfectly daunting.
“Yes, it was quite intimidating, but it was also unbelievably exciting,” admits DP Erik Messerschmidt ASC, as he recalls the invitation from David Fincher to capture the filmmaker’s next movie – the biographical drama Mank.
Mank takes place in Hollywood during the 1930s and early 1940s. It follows screenwriter Herman J Mankiewicz, played by Gary Oldman, and the process he undertook for Orson Welles to develop the screenplay for what would become Citizen Kane (1941, dir. Orson Welles, DP Gregg Toland ASC). Nominated in nine categories at the 1942 Academy Awards, Citizen Kane won the Oscar for Best Original Screenplay, shared by Welles and Mankiewicz.
The film, based on a screenplay by the director’s late father Jack Fincher, alternates between time periods, echoing the non-linear narrative of Citizen Kane, and revealing the trials and tribulations in Hollywood that inspired some of the characters and situations seen in the movie. These include Mankiewicz’s friendship with starlet Marion Davies, played by Amanda Seyfried, his association with newspaper tycoon William Randolph Hearst, played by Charles Dance, and his turbulent professional relationship with Welles, played by Tom Burke.
Shot entirely at 8K in High Dynamic Range monochrome, Mank also features allusions to Toland’s innovative cinematography, as well as classic day-for-night production techniques, and tips its hat to classic moments in the original film.
Mank had a limited theatrical release in November 2020, before streaming on Netflix in December. It received overwhelmingly positive reviews, with particular praise given to the direction, cinematography, production design, soundtrack and the performances, and is expected to feature strongly during the 2021 award season.
Fincher’s directorial credits include Se7en (1995, DP Dariusz Khondji AFC ASC), Fight Club (1999, DP Jeff Cronenweth ASC), Zodiac (2007,DP Harris Savides ASC) and The Social Network (2010, DP Jeff Cronenweth ASC). Messerschmidt,who came into cinematography from being agaffer, had previously lit Gone Girl (2014, DP JeffCronenweth) for Fincher, after which he immediatelymade the leap into cinematography as the leadDP on the first two season of Netflix’s Mindhunter,directed mainly by Fincher.
“I first met David on Gone Girl and got along great with him during the shoot,” says Messerschmidt. “I ended up lighting some promotional stills for that film which David shot himself. It was our first opportunity to work together creatively one-on-one. It went really well, and we stayed in touch. Both he and Cean Chaffin, his producer, knew that I had ambitions to become a DP. So, when Mindhunter came along, they offered me the opportunity to shoot it. We have been working together ever since, and I was thrilled to be asked to shoot Mank.”
Mank is the highly anticipated Netflix biopic directed by David Fincher. The movie is told through the eyes of alcoholic Hollywood screenwriter, Herman J. Mankiewicz, as he battles with personal demons to finish the screenplay for Orson Welles’ renowned Citizen Kane.
While Fincher and his team have worked with FilmLight’s Baselight colour grading system since the 2008 film The Curious Case of Benjamin Button and the Netflix TV series House of Cards, it was with Netflix’s Mindhunter that the director established his own in-house DI facility in Hollywood. Colourist Eric Weidt was brought on to lead colour development on the facility’s Baselight X system. Weidt had previously developed custom film emulation profiles for traditional film photographers, and brought his considerable experience in post-production for fashion stills and films to the grading suite.
Entirely shot in black and white, Mank has a 1930s Hollywood feel. Many tests were done before shooting – cameras, lenses, even light bulbs – before Eric developed the HDR, SDR and day-for-night LUTs alongside the project’s DoP Erik Messerschmidt. Fincher wanted to re-create certain period elements in post, for example “black blooming” in the shadows.
“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)
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Netflix’s Mindhunter series is inspired by true events. Directed by David Fincher, the show focuses on FBI agents Holden Ford and Bill Tench, who try to understand the psyches of notorious serial killers. Mindhunter’s first season debuted in 2017, and the second season returned in the summer of 2019.
Season 2 stars Jonathan Groff, Holt McCallany, Anna Torv, Joe Tuttle, Albert Jones, Stacey Roca, Michael Cerveris, Lauren Glazier and Sierra McClain. While Fincher was the series’ primary director, Andrew Dominik and Carl Franklin also directed episodes.
Cinematographer Erik Messerschmidt, ASC, had worked with Fincher in the past. He was a gaffer on the filmmaker’s Gone Girl, and was excited to receive a call, inviting him to come onboard to reshoot part of the pilot and second episode back in 2017. The show was already shooting with a Red camera for Season 1, and upgraded to the newer Hellium 8K sensor for Season 2.
Kirk Baxter of Santa Monica’s Exile also has a long-standing relationship with David Fincher. He’s cut The Curious Case of Benjamin Button (2008), The Social Network (2010) and The Girl with the Dragon Tattoo (2011) — all of which won the Oscar for Best Editing, a credit he shared with Angus Wall. He also cut 2014’s Gone Girl (2014), and is currently working on an upcoming Netflix feature with the director titled Mank.
We speak with Beverly Wood, former Executive VP at Deluxe and Managing Director at eFilm. We discuss the transition in Hollywood from Film to Digital with one of the industries foremost experts on the science behind it all. We discuss how film emulsion actually works, color science, her work with Roger and James, and films like SkyFall, O Brother, Where Art Thou and more.
She’s been with us through our journey from film to digital and is a great source of information in general!
Although mainstream audiences may not be consciously aware of the use of special processes when they watch a film in a theater, they certainly felt the effect while watching David Fincher‘s horrific thriller Seven (AC Oct. ’95), which was photographed by Darius Khondji. A number of the film’s release prints were treated with Deluxe‘s Color Contrast Enhancement (CCE) process to heighten the film’s blacks and add a palpable texture and tonality.
Some might consider high-dynamic-range (HDR) displays a technology of the future, but the reality is it’s here now and very much a contemporary delivery format. At the forefront of this delivery is Netflix, the streaming and production giant, which reports that roughly a quarter of the devices used to access its service monthly — more than 165 million — are configured for HDR. As a result, Netflix is making a concerted effort to provide HDR content and currently has more than 1,000 hours of such programming available.
One of these titles is David Fincher’s gritty, period procedural Mindhunter, which earned Christopher Probst, ASC an ASC Award nomination for its pilot in 2017. The series is photographed by Erik Messerschmidt, who notes that production incorporated HDR into the second season. “With Mindhunter, we try to be very subtle with the photography,” says Messerschmidt. “The story and themes of the show are complex and nuanced, so it’s really important that the photography never draws attention to itself. HDR helps because it enables me to be very subtle in my use of color and contrast, particularly in the toe of the exposure. Everyone likes to talk about the bright whites in HDR, but I think perhaps the added range in the shadows is more interesting and more important than added range in the highlights.
“I think cinematographers have always advocated for a better experience for the audience, whether it’s fast film stocks with tighter grain, better projection technology, or higher quality digital-capture and display technologies,” he continues. “HDR is just another step in that direction. Standard-dynamic-range video distribution can only show a narrow exposure band of the modern digital sensor’s dynamic range. The opportunity to use more of the sensor’s range when we want to is a very exciting development.”
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.
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.