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!
Listen and you will discover:
—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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