Breaking Down the Cinematography Style of Erik Messerschmidt

I’ve been making it a priority to just seek out the world of different cinematographers, to see how they handle different tones and working with different directors.

And I’ve found that one of the most versatile DPs out there is Erik Messerschmidt. He’s worked on four Fincher movies, comedy and drama TV, and features with Michael Mann, the list seems endless.

Today, we’ll be exploring his cinematography style. And we’ll see how he leans towards a sharp, precise, and digitally altered look.

We’ll delve into his background, influences, and the gear he uses to achieve his images.

Check out this cool breakdown from In-Depth Cine below.

The Cinematography Style of Erik Messerschmidt

Early in his career, Messerschmidt worked as a gaffer, which instilled a strong technical knowledge of lighting and grip equipment. That knowledge we’re seeing pay off in real time with all his different projects now. It’s cool to see someone so creative on the scene, collaborating and still pulling in his own style onto the screen.

So, how can he accomplish all of that?

Messerschmidt often asks directors about their references and uses that information to inform the look of the film. For example, when working on Ferrari with Michael Mann, they referenced Caravaggio’s paintings to create a dark, single-source lighting style for the interiors.

Messerschmidt’s camerawork is motivated by the story. The camera acts as a passive observer, with movement that mimics the blocking of the actors. He typically uses neutral angles, but occasionally breaks this language for subjective effect. For instance, in The Killer, the camera adopts a more frenetic handheld style when things spiral out of control.

Unlike many other cinematographers, Messerschmidt doesn’t shy away from post-production effects. He frequently uses green screens and VFX to create the desired look. An example of this is the house fight scene in The Killer where the handheld movement was created entirely in post.

He prefers sharp, modern lenses and shoots on cameras like the Red Cinema Camera and Sony Venice 2. He typically shoots at a higher resolution than the final film size to allow for stabilization and VFX work in post.

In terms of lighting, Messerschmidt likes using strong key lights and practical sources within the set. He often adds smoke or haze to sets lit with strong key lights to maintain detail in the shadows.

All of these things contribute to a strong personal style and an effective collaboration with everyone involved on set.

What are your favorite movies he’s shot? What are some other trademarks you’ve picked up along the way?

Let me know what you think in the comments.