We had a chat with focus puller Mathias Ertnaes — a decade in the game, no film school, just a photo apprentice who worked his way onto set and never left. We talked about pulling focus on one of Norway’s biggest productions, the reality of balancing drama and commercials, and why slowing down matters just as much as chasing the next big thing.

Who are you, and what do you do?

I’m Mathias, and I pull focus for a living.

I started out as a photo apprentice a little over a decade ago and gradually worked my way onto film sets and into the camera department. I have a craft certificate as a photographer, but no formal film education. I believe that background has given me a strong understanding of set dynamics. I began as a PA and moved through multiple departments before settling in camera. For the first five years of my career, I mainly worked on shorter productions like commercials and music videos. This was before the pandemic, and my calendar was full, which allowed me to gain a lot of experience quickly.

In 2022, I worked on my first full-length series, Exit season 3, and have since worked on several larger productions.

What is the latest project you worked on that you are proud of?

2025 was a strange year, for me and for the industry in general. The last project I worked on that I’m really proud of is Jo Nesbø’s Harry Hole from 2024, which will be released in 2026. It was a massive production, and I worked close to 130 days on it. Getting to pull focus on something of that scale was a real honor. There’s definitely pressure going into a project like that, but after a few weeks you settle into it.

The entire team was operating at a very high level. A big shoutout to Ronald Plante for bringing me on, and to Eirik Gustavsen for always having my back.

What is your most important contribution to a project?

My main responsibility on set is making sure the image stays sharp and that the camera package runs as smoothly as possible. Ideally, no one should ever have to wait for camera, as long as we are properly staffed and not working with highly specialized rigs. In Norway, it’s rare to work only on large-scale productions, and I really enjoy that balance. I like working on commercials and shorter projects as well, and I appreciate the variety. These productions require you to be more dynamic and adaptable.

Coming from still photography, one of my strengths is being very detail-oriented. That also allows me to support set decorators and the art department with continuity when needed. From time to time, I try to step back and reflect on where I am. It’s easy to constantly chase bigger and better projects, but it’s just as important to slow down and take in where you are, especially during quieter periods.

Who in Oslo should get the spotlight next, and why?

Marte Beck. She’s one of the hardest-working people I know and has a go-getter attitude that more people in the industry should reconnect with. She worked on video for Harry Hole and also works in camera. She recently completed her first proper short film last summer.

CONTACT:

IG: @mathiasertnaes