{"id":10120,"date":"2020-06-05T12:28:51","date_gmt":"2020-06-05T19:28:51","guid":{"rendered":"https:\/\/www.icgmagazine.com\/web\/?p=10120"},"modified":"2021-05-30T17:51:34","modified_gmt":"2021-05-31T00:51:34","slug":"devil-in-the-details","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/devil-in-the-details\/","title":{"rendered":"Devil In The Details"},"content":{"rendered":"

Season 3 of Netflix\u2019s rural family drug saga, Ozark<\/i>, hits new visual highs (and dark narrative lows). <\/span><\/span><\/p>\n

by Valentina Valentini \/\u00a0<\/span>Photos by Steve Dietl \/ Framegrabs Courtesy of Netflix<\/span><\/p>\n

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\n

When Marty Byrde (Jason Bateman) walks into an office full of large glass windows, he\u2019s the guy who will note the windows are south-facing, and the cooling bill will be about fifteen percent higher in summer. That same attention to detail is also what drives the behind-the-scenes team of Netflix\u2019s Emmy-winning crime drama, Ozark<\/em>, now streaming its third (and many would say its most visually ambitious) season. The series was created by Bill Dubuque and Mark Williams, executive produced by showrunner\/writer Chris Mundy, with star Bateman also serving as an executive producer and director for nearly one-third of all shows produced so far. Season 1\u2019s final episode earned Bateman his first directing Emmy nomination, along with a nomination for Local 600 Director of Photography Ben Kutchins, who has shot roughly half of all three seasons. Bateman went on to win an Emmy for the opening episode of Season 2, which Kutchins also shot. Guild Director of Photography Armando Salas came aboard in Season 2 to split the schedule with Kutchins. For this most current season, Kutchins shot Episodes 1, 2, and 6 while Salas shot 3, 4, and 7 through 10. (Manuel Billeter shot Episode 5.)<\/p>\n

\u201cThere are so many things that have to go right for anything to be good,\u201d observes Executive Producer\/Writer Chris Mundy. \u201cSo, the attention paid to detail is everything. And that\u2019s the beauty of being able to have two DP\u2019s \u2013\u00a0one is always shooting, and one is always prepping. That\u2019s a godsend for the director in prep, to have their DP fully [there with them] the whole time so they know exactly what the other one is thinking. I think it\u2019s helped the show, and both of [our] guys are so good [at it].\u201d<\/p>\n

At its core, Ozark <\/em>is a family drama, even if its elaborately staged crime segments (raised to a new level of ambition in Season 3) can overshadow the familial themes. When we first met Marty, his wife, Wendy (Laura Linney in an Emmy-nominated role), and their children, Charlotte (Sofia Hublitz) and Jonah (Skylar Gaertner), in Season 1, they were an average white-collar Chicago family who unwittingly became wrapped up in laundering money for a Mexican drug cartel out of the Missouri Ozarks. With Season 3, the Byrdes\u2019 operation has grown, exponentially, even if their destinies are forever in jeopardy of being snuffed out.<\/p>\n

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Responding to claims that Ozark<\/em>\u00a0was too dark in Seasons 1 and 2, Executive Producer\/Director\/Star Jason Bateman (pictured above, S3, Ep. 7, shot by Armando Salas) says, \u201cYou can\u2019t assume or depend on pristine viewing conditions when you\u2019re [filming a show] for a streaming service. People are watching at home, sometimes during the day, and there\u2019s ambient light. We always try to play on the edge of just the right amount of exposure and contrast.”<\/figcaption><\/figure>\n

From inception (Pepe Avila del Pino shot the pilot and Episode 2 of Season 1),<\/strong> Ozark <\/em>has been a narratively (and visually) dark series. That means even the ostensibly \u201cfun\u201d moments \u2013 teenagers hanging out at a lake on a sunny summer day; wine and terrycloth bathrobes at a cozy bed and breakfast; winning the jackpot at a casino \u2013 are laced with violence and fear. \u201cYou know those joyful scenes in a thriller or horror movie, right before the hammer comes down, that trick the audience?\u201d Kutchins posits. \u201cWell,\u00a0Ozark<\/em>\u00a0is a completely different meditation. It\u2019s always bleak for our characters. We don\u2019t allow them those joyful moments; it just goes from bad to worse.\u201d<\/p>\n

Though the tone in Season 3 is consistent with what came before, the creative team believed a slightly softer feel was appropriate for the story\u2019s evolution. That was also a practical decision, since the darkness of the show wasn\u2019t translating to all viewing platforms. \u201cYou can\u2019t assume or depend on pristine viewing conditions when you\u2019re [filming a show] for a streaming service,\u201d Bateman offers. \u201cPeople are watching at home, sometimes during the day, and there\u2019s ambient light. We always try to play on the edge of just the right amount of exposure and contrast.\u201d<\/p>\n

Company 3 Colorist Tim Stipan, who has finalized the look for all three seasons, adds that this year\u2019s model has a softer contrast. \u201cIt\u2019s brighter, and there are softer blacks. However, the color tonality is much the same, with those strong signature cyans.\u201d<\/p>\n

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Company 3 Colorist Tim Stipan, who has finalized Ozark\u00a0<\/em>for all three seasons, says this year\u2019s model has a gentler contrast. \u201cIt\u2019s brighter, with softer blacks,” he reveals. “However, the color tonality is much the same, with those strong signature cyans.\u201d Above: Julia Garner as Ruth Langmore in S3, Ep. 6, shot by Ben Kutchins and directed by A-Camera\/Steadicam Operator Ben Semanoff, SOC.<\/figcaption><\/figure>\n

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Kutchins (who came on right after the pilot) and Bateman<\/strong> wanted to create a world that was harsh and uninhabitable, despite its idyllic location on Lake Ozark\u00a0\u2013 doubled by Georgia\u2019s Lakes Lanier and Allatoona. The goal has always been to show darkness as a feeling of imminent threat; to do that photographically, Kutchins used the negative and positive parts of the image to create enough shadow to allow the audience\u2019s minds to wander into what\u2019s coming next without knowing what exactly that is \u2013 only that it\u2019s bad.<\/p>\n

\u201cI light the characters just enough to read their expressions,\u201d Kutchins describes, \u201cwith enough light on the walls behind to create some separation. Ozark <\/em>has been very much about controlling the amount of information we reveal in any given image.\u201d<\/p>\n

While that approach was repeated in Season 3, Kutchins and Salas knew they had to evolve the look with the Byrdes\u2019 progression. They\u2019re doing business at the state-government level; there are new characters, like a sly forensic FBI agent, Wendy\u2019s bipolar brother, and a spoiled son of a Mafia boss, and they\u2019ve opened a bustling new casino, The Missouri Belle, a massive addition to the few sets the show used at Eagle Rock Studios Atlanta. (Most of the show has been shot on location in Georgia, doubling for the Ozarks.)<\/p>\n

\u201cMy first question to Jason was about tone,\u201d says Production Designer David Bomba, who, after replacing two previous designers, was the new kid on the block. \u201cOzark<\/em> has a very blue-gray, overcast feel, and I asked if that was the direction I should pursue [for Season 3], and Jason was adamant I should not.\u201d<\/p>\n

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Kutchins and Salas wanted indirect sources and accent lights for the central pit area of the Missouri Belle and Production Designer David Bomba obliged. “Joy Britt, our fixture\u2019s genius from Edison Jackson\u2019s electrical team,” Bomba relates, “retrofitted some 40 ceiling-mounted star fixtures with RGBA-hybrid tape lighting. In the end, ninety percent of the casino was lit by practicals incorporated\u00a0into\u00a0the design.”<\/figcaption><\/figure>\n

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Bomba, whose previous credits include the Sundance indie hit<\/strong> Mudbound<\/em> (shot by Oscar nominee Rachel Morrison, ASC) and the Oscar-winning feature Walk the Line<\/em> (shot by Phedon Papamichael, ASC), markedly expanded the show\u2019s color palette. The designer took research trips to Rising Star Casino and Resort near Lawrenceburg, IN, and the Lady Luck Casino in Caruthersville, MO, before landing on a New Orleans riverboat theme with red and gold interiors. Having grown up in NOLA, Bomba expanded on what was familiar, modeling Marty\u2019s office, the casino entrance, and The Marquette bar (the land-based parts of the casino) on older structures in the now-gentrified Warehouse District and the Napoleon House in the French Quarter.<\/p>\n

He describes the Missouri Belle riverboat casino as fashioned after the paddle steamers that traveled up and down the Mississippi River in the 19th century. \u201cThink Mark Twain, Victorian embellishments,\u00a0opulent grandeur, elegant detailing, and warm light sourced by what would have been gas or oil-flamed fixtures,\u201d Bomba reveals. \u201cJason suggested an overall red and gold scheme to contrast any other set piece that had been established in the series, so I ran with it. I was thrilled to expand the palette of the show.\u201d<\/p>\n

Salas says Bateman has always been intimately involved in the evolution of the show\u2019s look. \u201cThe casino was going to have a very different feel from the majority of what we\u2019d done before,\u201d he adds. \u201c [We wanted] the casino floor [to feel] engulfing and sophisticated, like you could really be sucked into gambling all your money away. It needed to be a relief from the oppressive and cool [blue] world that we so often see.\u201d<\/p>\n

Kutchins\u00a0and Salas wanted a wealth of practical lighting units in the casino set, and Bomba obliged, with a central gaming pit area and its ceiling coffers comprised of exposed carnival-like bulbs. Bomba also wanted antique brass chandeliers, sconces, and pendant fixtures \u2013 created by decorator Kim Leoleis and her team \u2013 both in the casino and the bar and entrance areas. Both Kutchins and Salas wanted more light, specifically additional softer, indirect sources as well as accent lights for the gaming tables in the central pit area. In the end, ninety percent of the casino was lit by practicals incorporated\u00a0into\u00a0the design.<\/p>\n

\u201cWe went with a spot-lighting system for the table accents,\u201d Bomba recounts.\u00a0\u201cFor the alleys flanking the central pit that were lined with the slot machines, Joy Britt, our fixture\u2019s genius from Edison Jackson\u2019s electrical team, retrofitted some 40 ceiling-mounted star fixtures with RGBA-hybrid tape lighting. Another 30 or so\u00a0ceiling fixtures were added to the second floor, retrofitted in the same manner. Joy also\u00a0suggested using RGBA LiteRibbon with\u00a0an\u00a0architectural extrusion lens that resembled a neon strip.\u201d<\/p>\n

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Season 3 also saw a change in capture system and lenses, with Ben Semanoff (above left, directing S3, Ep. 6, with Kutchins, right) advocating for the switch to the full-frame Sony VENICE. First AC Liam Sinnott also notes that the Rialto accessory [for the Sony VENICE] \u201cmade it possible to put the camera in a multitude of positions you would not be able to achieve with a regular-sized body, even one as small as a RED or ALEXA Mini.\u201d<\/figcaption><\/figure>\n

Season 3\u2019s new tribulations for the Byrde family required<\/strong> Kutchins and Salas to dive ever deeper into the narrative rabbit hole, with full-frame capture and a shallow depth of field proving the best visual track. \u201cShooting full-frame brings the characters forward in the image,\u201d describes Kutchins, who (at the suggestion of A-camera\/Steadicam operator Ben Semanoff, SOC) switched, in Season 3, from the 4K Panasonic VariCam to the 5.7K Sony VENICE. \u201cIt\u2019s almost equal to old VistaVision film, where you have these wide landscape shots, yet there is character in it, too,\u201d Kutchins notes. \u201cIt manages to be both, simultaneously, and the characters come right into living rooms.\u201d<\/p>\n

The Sony VENICE offered Ozark\u2019s <\/em>directors of photography a much larger capture sensor, but in a small, lightweight body. Semanoff, who also has directed two episodes of Ozark<\/em>, says he had used VENICE as A-camera\/Steadicam operator on the Peter Berg feature Spencer Confidential<\/em> (shot by Tobias Schliessler, ASC) and loved the form factor along with the Rialto attachment, which allows users to pull off the front block of the camera, essentially making it just a small housing for the sensor that is tethered via a fiber umbilical cable back to the main body to record the data.<\/p>\n

\u201c[Guild Director of Photography] Igor Martinovic and I pushed to use VENICE on [the HBO limited series The Outsider<\/em>] with [actor\/director] Jason Bateman,\u201d Semanoff recounts. \u201cI was a huge fan, as it has a great form factor for Steadicam and would facilitate the different locations we were looking at for Season 3 [of Ozark<\/em>] \u2013 on the water, in the woods \u2013 some very remote areas. Although the ARRI LF was high on everyone\u2019s list for image quality and color rendition [the ARRI LF Mini was not yet available], the VENICE met a wider range of our concerns.\u201d First AC Liam Sinnott adds that the Rialto accessory \u201cmade it possible to put the camera in a multitude of positions you would not be able to achieve with a regular-sized body, even one as small as a RED or ALEXA Mini.\u201d<\/p>\n

The Ozark <\/em>camera team also swapped out its lens package, using a Leica Noctilux and a set of Leica Summicrons and R-series. The Noctilux is a 50-mm lens rehoused from a still lens by True Lens Services. It opens to a .95 aperture, one of the fastest lenses out there, and it allowed them to shoot in extremely low light situations as well as isolate their characters during daylight exteriors. Switching to a large sensor, with a lens that opened the aperture more than a stop, did increase Sinnott\u2019s challenges as a focus puller, as well as the visual aesthetic. Multiple camera setups required a diopter with whatever camera had a Summicron or Leica R lens to achieve the same shallowness as the Noctilux.<\/p>\n

 <\/p>\n

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For the challenging Mexican dungeon set in S3, Ep. 4, where Marty Byrde (Jason Bateman, pictured above) is held captive, Director of Photography Salas created a neutral\/cool look for when the room was dark, “and then warm incandescent flood lamps for the torture lights,” he explains. “We wanted viewers to feel Marty was having his eyes blown out without having it be actually hard on the eyes of those watching the show.\u201d<\/figcaption><\/figure>\n

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“Ben and Armando are constantly trying to push the look of the show,\u201d Sinnott adds, \u201cbe it through shot design, exposure, or depth of field. A lot of the conversations concerning the use of the Noctilux revolved around isolating the characters. They wanted scenes with a single actor in wide shots to separate from the foreground and background and be the only element in focus within the frame. With scenes involving multiple characters, they wanted the ability to detach story beats and use the focus as a storytelling tool.\u201d Kutchins adds that \u201cas the Byrdes further isolate themselves from each other, we wanted to use this lack of depth of field to isolate them visually from one another.\u201d<\/p>\n

Salas cites an example from the opening moments of Episode 4 when Marty, having been kidnapped by the drug lord Navarro (Felix Solis) to Mexico, awakens in a dark cell. Shot in a series of three set-ups, \u201cthe camera is very close to [Bateman], experiencing the same disorientation that Marty is feeling,\u201d Salas explains. \u201cThe background is all abstract shapes and textures, and as Marty gets his bearings, so does the viewer.\u201d<\/p>\n

Although Kutchins had established the warm contrasty look of scenes in Mexico in previous episodes, the introduction of Marty\u2019s dungeon-like hole that opens Episode 4, became an interesting challenge for Salas. As he continues: \u201cI created a neutral\/ cool look for when the room was darkened, and then warm incandescent flood lamps for the torture lights [Byrde is subjected to sleep deprivation and incessant loud music]. I tested different lights with David [Bomba] and ended up having our electricians swap out for lower wattage halogens, and then added a streak filter to enhance and distort the lights when they kick on. \u201cWe wanted viewers to feel Marty was having his eyes blown out without having it be actually hard on the eyes of those watching the show.\u201d<\/p>\n

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After Netflix added a Dolby Vision deliverable in S2, Armando Salas (middle, pictured above) implemented a S3 workflow that allowed he and Kutchins to view both HDR and SDR on set. \u201cBeing able to look at both versions simultaneously informs how you expose faces, especially on a show like Ozark<\/em>, which lives in the shadows,\u201d Salas says. \u201cWe could make those decisions in our delivery format versus having to deal with it later.”<\/span><\/figcaption><\/figure>\n

 <\/p>\n

The VENICE and Leica lens package dynamically alter Ozark\u2019s<\/em><\/strong> visual landscape in Season 3. But those weren\u2019t even, perhaps, the biggest changes to the look of the series. Before Season 2, Netflix changed its release delivery to require Dolby Vision, with new home displays now mostly being HDR-equipped, and even tablets and other smaller display devices becoming HDR compliant. That meant the show had to be versioned (mastered) in HDR, with many legacy [SDR] viewers seeing the end product in HDR generated by a computational analysis within the Dolby Vision process.<\/p>\n

Salas had gone on to shoot another Netflix show, Raising Dion<\/em>, and immediately implemented an HDR workflow to view both HDR and SDR simultaneously on set. When it came time to prep Season 3 of Ozark<\/em>, Salas tweaked his Raising Dion<\/em> workflow for\u00a0Ozark<\/em>. He and Kutchins flew to Atlanta for a camera and workflow test, and, based on that, Stipan created their HDR LUT for on-set viewing.<\/p>\n

\u201cI made a global trim that matched the HDR as close as I could get,\u201d Stipan recounts, \u201cand then I went through the SDR episode to make sure it looked as good as it could be, and nothing bumped me in terms of highlights and shadows.\u201d<\/p>\n

Kutchins and Salas were then able to check both SDR and HDR versions whenever they were dealing with high-contrast situations, i.e., windows, backings, and practicals on set. Their digital imaging cart consisted of two Canon V2411 HDR monitors fed by an AJA FS-HDR rack, which held the show LUT\u2019s and simultaneously fed an SDR version downstream to Video Village, which approximated the Dolby Vision down-convert.<\/p>\n

\u201c[Being able to look at both versions simultaneously] informs how you expose faces, especially on a show like Ozark<\/em>, which lives in the shadows,\u201d Salas concludes. \u201cWe could all make those decisions in our delivery format versus having to deal with it later. To use an analogy: it would be as if we were shooting a color show, and the monitors on set were all black and white. Now, we could have a good idea of what the transform is going to be and could make a judgment based on that, or we could just be viewing it in color instead of in black and white. It really is that extreme of a difference when it comes to a show that is finishing in HDR or SDR. This new workflow got us a lot closer to seeing what we were going to eventually be grading in the DI suite.\u201d<\/p>\n

 <\/p>\n

\"\"
The goal of Ozark’s\u00a0<\/em>visual team\u00a0has always been to show darkness as an imminent threat. <\/span>\u201cWe light the characters just enough to read their expressions, with enough light on the walls behind to create some separation,” Kutchins describes. “Ozark <\/em>has been very much about controlling the amount of information we reveal in any given image.\u201d<\/figcaption><\/figure>\n

 <\/p>\n

Semanoff, who describes Ozark<\/em> as the \u201chighlight\u201d of his career,<\/strong> says he has been \u201cspoiled for life\u201d by Jason Bateman\u2019s trust and partnership. \u201cOver the several productions Jason has brought me onto, he\u2019s always treated me like a collaborator,\u201d Semanoff says. \u201cOn Ozark<\/em>, in particular, he has encouraged me to help set and maintain an aesthetic for the way the camera moves, or doesn\u2019t move. Beyond which he entrusted me with directing two episodes, which is a special experience. Besides the amazing cast and crew, [Bateman] and [Chris] Mundy encourage directors to approach their episode[s] with a freedom more indicative of a feature film. It\u2019s liberating!\u201d<\/p>\n

For his part, Kutchins says he\u2019s \u201cso pleased\u201d the dark drama has found such a huge audience. \u201cMy Ozark <\/em>experience simply wouldn\u2019t be the same without the amazing team of people who came together to make the show,\u201d Kutchins concludes. \u201cEveryone is operating at such a high level that we all feel inspired to do our best work. [Viewers| would never know it from [Ozark\u2019s<\/em>] serious tone, but this show is fun to shoot! Behind every intense scene is a crew that is having the time of their lives.\u201d<\/p>\n

\u201cWith Season 3,\u201d Salas finishes, \u201cthe canvas and scope [of the series] became larger, while simultaneously delving deeper into these intimate character studies of our anti-heroes. The combination of a larger sensor, extremely limited depth of field, when appropriate, and expanded color and tonal range combined to enhance the visual language of Ozark\u00a0<\/em>without straying too far from the familiar look.\u201d<\/p>\n

 <\/p>\n

\"\"
Kutchins (who shot S3, Ep. 6, pictured above) calls Ozark the highlight of his career. “Everyone is operating at such a high level that we all feel inspired to do our best work,” he shares. ” [Viewers| would never know it from [Ozark’s] serious tone, but this show is fun to shoot! Behind every intense scene is a crew that is having the time of their lives.\u201d<\/figcaption><\/figure>\n

Ozark<\/u><\/em> (Season Three)<\/u><\/strong><\/p>\n

Directors of Photography: Ben Kutchins, Armando Salas<\/p>\n

A-Camera Operator: Ben Semanoff, SOC<\/p>\n

A-Camera 1st<\/sup> AC: Liam Sinnott<\/p>\n

A-Camera 2nd<\/sup> AC: Kate Roberson<\/p>\n

B-Camera Operators: Greg Faysash, SOC, Christopher Glasgow, SOC<\/p>\n

B-Camera 1st<\/sup> AC: Cristian Trova<\/p>\n

B-Camera 2nd<\/sup> AC: Johnny \u201cUtah\u201d Hoffler<\/p>\n

Digital Loader: Taylor Seaman<\/p>\n

Digital Utility: Walker Markey<\/p>\n

Still Photographers: Steve Dietl, Guy D\u2019Alema, Jessica Miglio, SMPSP, Tina Rowden<\/p>\n","protected":false},"excerpt":{"rendered":"

Season 3 of Netflix\u2019s rural family drug saga, Ozark, hits new visual highs (and dark narrative lows). by Valentina Valentini \/\u00a0Photos by Steve Dietl \/ Framegrabs Courtesy of Netflix   When Marty Byrde (Jason Bateman) walks into an office full of large glass windows, he\u2019s the guy who will note the windows are south-facing, and the cooling bill will be about fifteen percent higher in summer. 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