DP Glenn Kershaw: The Look of Criminal Minds

There’s nothing surreal or stylized about Criminal Minds, CBS’s new series about an FBI profiler played by Mandy Patinkin. Executive producer Mark Gordon wanted it that way – the psychodrama plays a little scarier. Taking over the series from Alex Nepomniaschy, who’d set the look for the pilot, DP Glenn Kershaw explained his MO.

Shooting style: It’s very straightforward in terms of color, [which is] dictated by the location. If we’re in a background that lends itself to it, or a night exterior where there are sodium or mercury-vapor streetlights, we’ll play with that, but color won’t be introduced just for the sake of color. It has to come from a natural source.

What the executive producer wants: Mark Gordon, our executive producer, would like it to have a naturalistic, however rich, quality. Mark would like to see this with a natural feel. He doesn’t want it glossy. Following that theme leaves room for interpretation. For example, some scenes may play a little more contrasty than others, but the mood is set pretty much by each scene.

Signatures: If you have a fixture in the frame, it gives it a little bit of halation – you know, if you see a light-bulb or something. The [Tiffen] Pro-Mist filter gives it a little spread or any other highlight. It’s really subtle. We are continuing that and I think it’s a great signature for the show, [as are] Mandy’s flashbacks. It’s very basic. Wherever they are, it requires three plates. The camera’s locked off, but they can build movement into it, if necessary.

Kit: We’re on 35mm Panavision. We’re using Kodak stock, the 500 5218 and the 100 5212. We work primarily off two Primo 11:1 zooms and have the Primo primes to support them. We shoot two cameras on almost every set-up. We’re using a 1/8 Pro-Mist and never anything any stronger.

Keeping things moving: We’ll be using primarily dollies in the FBI headquarters and keeping all of that evenly paced- not to say it can’t ramp up, but it’ll usually be long lens and dollies and quick movement if it does. On location, the dollies will work, but it’ll lend itself more toward handheld or Steadicam as they’re out in the field and pursuing what they call the "un-sub" – the unidentified subject.

Evolving from the pilot: In terms of the pilot, I thought it was beautifully executed and well-lit and probably a bit more saturated than we will be, but it’s still the direction were aiming right now.