ASC Welcomes Erik Messerschmidt as a New Active Member

Samantha Dillard
February 5, 2020
ASC (American Society of Cinematographers)

Erik Messerschmidt, ASC had a childhood dream of becoming a cinematographer, which he began pursuing at Emerson College, where he studied film production. While in school, he hit the ground running, working on film sets as an electrician, which then led to work as a gaffer in features, television and commercials. Before he graduated, he was able to join the IATSE Local 481 in Boston. During this time, he also served as a lighting technician and lighting director for many well-known photographers, including Gregory Crewdson, Mike and Doug Starn and Larry Sulton.

Following graduation, Messerschmidt relocated to Los Angeles to further his career in the industry. Shortly thereafter, he met Mark Doering-Powell, ASC and Mark Weingartner, ASC, who served as early mentors. Doering-Powell hired Messerschmidt on several smaller feature projects as a grip and later gaffer, which allowed him to join Local 728 as a gaffer. He developed relationships with numerous ASC members, including Claudio MirandaJeff Cronenweth and Tami Reiker, who Messerschmidt calls his “closest mentors.”

Gordon Lonsdale, ASC hired Messerschmidt as his gaffer on the television series Bones, and the two worked together for six seasons. During this time, Messerschmidt also gained experience as a director of photography, shooting several commercials, short films and documentaries.

Erik Messerschmidt, ASC on the set of the Netflix series Mindhunter.

Cronenweth hired Messerschmidt as his gaffer on David Fincher’s Gone Girl, and subsequently encouraged the director to hire Messerschmidt to photograph his next project, the Netflix series Mindhunter. Since then, the cinematographer has shot the bulk of episodes on both seasons. (See story here.)

Messerschmidt has also photographed several episodes of the television series Legion as well as second-unit work on the feature Sicario: Day of the Soldado, shot by Dariusz Wolski, ASC. On the recommendation of Wolski, Messerschmidt was hired to photograph the HBO Max series Raised by Wolves.

His upcoming credits include Fincher’s latest feature, Mank, depicting the life of screenwriter Herman J. Mankiewicz and the writing of the script to Citizen Kane.

Original post

Netflix Helps Drive the Creative Vision with High-Dynamic-Range Content

Jay Holben
December 22, 2019
American Cinematographer

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.”

Read the full profile

FilmLight, Colour on Stage: Eric Weidt

Creating the unique look for Mindhunter Seasons 1 and 2.

November 15, 2019
FilmLight, Colour on Stage

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.

Presented at IBC2019 on September 15, 2019.

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.

HDR version available for download

Blurred luminance key for a “GLO” effect.

“These are my layers for making a chromatic aberration for David Fincher”.

Find out about the new and upcoming features in Baselight with FilmLight’s Martin Tlaskal

Shot on RED: MINDHUNTER

Michele K. Short / Netflix

The show’s look is as meticulous as the mechanics of police work it depicts.

October 21, 2019
RED Digital Cinema

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.

Read the full profile

DP Erik Messerschmidt on Mindhunter, Season Two

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”

Matt Mulcahey
September 17, 2019
Filmmaker

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.

Read the full interview

Forensic discussion of the Mindhunter workflow

Carolyn Giardina
September 16, 2019
IBC

PIX Onset Makes Connected Set A Reality

July 9, 2019
PIX+CODEX

PIX has worked closely with David Fincher and his No. 13 production company since Panic Room in 2001, developing tools and services that have fundamentally changed how feature films and television shows are made. One of the first directors to embrace digital cameras with his use of the Thomson Viper on Zodiac, Fincher and his team are constantly redefining technology as they seek to blur the line between production and post production and strive to automate the mundane and more clearly communicate their creative vision.

On Netflix’s Mindhunter, Fincher again used the latest digital capture technology – custom RED Xenomorph cameras designed to his specifications, integrating all the usual camera components (wireless video transmitters, focus controls etc.) into the camera for a much more ergonomic design. But Fincher’s desire for innovation extended far beyond the camera, so he again turned to PIX.

CHALLENGE

Working on his current project, the second season of Mindhunter, David Fincher was looking for a way to better convey the thoughts and ideas he came up with during production via annotations attached to the image captured by the camera. In the past, a thought about the grading required for a particular shot might have been conveyed via a phone call to the dailies colorist much later in the day after shooting wrapped. David Fincher required a real-time telestration solution, rather than a delayed response later in the evening or next day. And it absolutely could not delay shooting or increase the footprint or complexity of production.

SOLUTION

PIX has built a system that makes the often-used term “Connected Set” real. PIX OnSet creates a clip of the take and immediately presents this clip to the director via a tablet, so that he or she can make annotations and notes on the image right after it has been captured. These notes are then securely uploaded via PIX to all the approved members of the production who can review them along with image files. Other approved production crew – for example, DP Erik Messerschmidt – can also add their own notes. These notes are securely conveyed through to editorial and post production along with the image files and other metadata.

PRODUCTS DEPLOYED ON MINDHUNTER

PIX for Desktop, Web, iOS
PIX OnSet
– The series also utilized the PIX Developer Program for custom integrations.

RESULT

Real-Time Creative Capture – The thoughts and ideas of the creative team are recorded in real-time immediately after the take. This ensures that their vision and ideas are communicated clearly and without change through the many lines of communication to the rest of the production team, reducing the potential for misunderstanding. For example, the editorial team can easily see any notes the director or DP have made without relying on paper, phone calls or emails sent later in the day. This might be a note that a take needs to be printed down half a stop or a note that something in the frame needs to be removed in post. Having the note linked to the image vastly reduces the opportunity for error and saves valuable time.

Patented Content Security – Along with the rest of the industry-leading PIX platform, PIX OnSet is extremely secure, built on PIX’s patented DRM with dynamic and forensic watermarking and meets the exacting standards of the MPAA.

Minimal Footprint On Set – Rather than adding to the on-set production infrastructure, PIX OnSet actually reduces it by providing immediate playback of takes to authorized devices as they are captured by the camera

No Production Delays – As authorized members of the creative team can annotate the file immediately and easily on their own tablet, there is absolutely no slowdown in the pace of production.

See how PIX can help your next big project. Call or email us to set up a demo and learn more!

Film stills of Holt McCallany and Jonathan Groff on the set of Mindhunter, Season 1, by Patrick Harbron (Netflix).

Original Post

Mindhunter Season 2 has Wrapped