{"id":11380,"date":"2021-07-22T19:48:25","date_gmt":"2021-07-23T02:48:25","guid":{"rendered":"https:\/\/www.icgmagazine.com\/web\/?p=11380"},"modified":"2021-07-23T10:19:16","modified_gmt":"2021-07-23T17:19:16","slug":"late-late-night","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/late-late-night\/","title":{"rendered":"Late-Late Night"},"content":{"rendered":"

Christine Ng leads a rainbow-colored room of Guild members through the many looks of ZIWE<\/em>, Showtime’s groundbreaking variety series.\u00a0<\/span><\/span><\/p>\n

by Margot Carmichael Lester \/ Photos by Greg Endries \/ Showtime Networks<\/span><\/span><\/p>\n

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\u201cZIWE<\/em> is not just a comedic variety show, it challenges you to have productive conversations with people about hard things,\u201d shares Guild Director of Photography Christine Ng [ICG Magazine December 2019]<\/a>. \u201cIt makes you assess your take on societal norms that you may have either taken for granted or haven\u2019t challenged enough. It\u2019s an incredibly smart show.\u201d<\/p>\n

Recently picked up for a second season, the A24 production airs on Showtime and stars writer, comedian, and Internet star Ziwe Fumudoh, who is also an executive producer. The self-named series blends interview segments, sketches, and music videos with pointed political parody and cogent cultural commentary \u2013 all of which suit Ng, whose work has included commercials, studio films (When They See Us<\/em>), indie features (Between the World and Me<\/em>) and documentaries (Everything Is Copy<\/em>).<\/p>\n

\u201cI was able to take the same tools and create completely different vibes for each portion of the series,\u201d Ng continues. \u201cTime and resources are limited on every set, so being a versatile DP, with many genres under your belt, is always a big advantage. This was a dream job where I was able to lean into the things I love \u2013 docs and their spontaneity, narrative with its creative control \u2013 and meld both worlds to create a plan with flexibility that still worked for the schedule.\u201d<\/p>\n

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Director of Photography Christine Ng describes ZIWE<\/em>\u00a0as not just a comedic variety show. “It challenges you to have productive conversations with people about hard things.\u201d Above: Creator\/Executive Producer Ziwe Fumudoh in Episode 2, “Beauty Standards.”<\/figcaption><\/figure>\n

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The bulk of ZIWE<\/em> was shot over 13 days during COVID, doing four to <\/strong>five segments daily on sets built from scratch; two half-day shoots occurred after principal photography was wrapped.\u00a0First AC Michelle Sun, who first worked with Ng on Ava DuVernay\u2019s six-part Netflix series Colin in Black & White<\/em>, says the most challenging aspect of shooting a variety show \u201cis the constant schedule changes due to guest availability. When the shooting schedule changes, it affects the booking of camera department personnel as well as special equipment,\u201d Sun notes. \u201cLuckily we had a few camera operators and assistants on hold for the duration who were flexible enough to accommodate the changes, and we contacted over 30 assistants when two additional shoot days were added at the end and the original crew could not finish the job.\u201d<\/p>\n

Production Designer Erin Magill says Ng\u2019s skill and philosophy made the brutal schedule bearable. \u201cShe balanced the work and hopes of two different directors while seamlessly leading her team with a sense of gratitude and a can-do attitude,\u201d Magill shares, \u201cno matter how challenging the day ahead seemed.\u201d<\/p>\n

ZIWE<\/em> has shaken up the landscape of late-night TV by occupying a space that is predominantly and traditionally occupied by white men. As Director Lizzy Sanford observes: \u201cEarly on in the process, Ziwe told me she wanted it to look like anything but <\/em>the male-driven late-night host shows we\u2019re used to seeing. I wanted the show to feel like we were peering inside Ziwe\u2019s mind, pairing her Clueless<\/em>\/Barbie\u2019s Dreamhouse aesthetic with one part pop music video, one part Oprah and one part Pee-Wee\u2019s Playhouse<\/em>.\u201d<\/p>\n

Fumudoh describes the show\u2019s unflinching and fearless comedic tone as \u201cchaotic good\u201d and challenged Sanford and Ng to create a look that matched the tone. \u201cChristine is a brilliant cinematographer, and it was a pleasure to collaborate with her,\u201d Fumudoh asserts. \u201cShe expertly shifted styles and genres and historical periods throughout our tight shooting schedule. What a genius!\u201d<\/p>\n

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Director Lizzy Sanford wanted the show to feel like “we were peering inside Ziwe\u2019s mind,\u201d with influences ranging from Oprah Winfrey to Pee-Wee’s Playhouse.\u00a0<\/em>(L-R): Phoebe Bridgers and Ziwe in Episode 4, “Allyship.”<\/figcaption><\/figure>\n

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Ng chose ALEXA Minis, uncoated Cooke S4s, anamorphic Cooke SF\u2019s,<\/strong> and Ang\u00e9nieux\u00a0Optimo 15-40-mm, 45-120-mm, and 28-340-mm zoom lenses, along with ARRI Shift & Tilts. She operated one camera full-time, alongside operators Laura Eraud, Nadine Martinez, and Meg Kettell. Joining Sun pulling focus were Jason Rihaly and Haffe Acosta. \u201cChristine and I would have loved to have a few more cameras to cover our interviews and field pieces,\u201d Sanford smiles, \u201cbut we were able to develop a system of covering the live setups and retaining the energy of the performances.\u201d<\/p>\n

Ng made shot lists, but she stayed open and flexible in the two-camera setup to allow for performance improvisation. The DP says she always invites creative input from her camera team and other departments. One example in Episode 102, \u201cMayor of NYC,\u201d features a handheld 270-degree slow-motion shot that starts on a pile of cash. It follows Ziwe\u2019s hand up to a close-up of her face, capturing the action as she tosses the bills in the air. \u201cThe camera tilted up to see the cash rain down,\u201d Sun explains. \u201cWe did multiple takes to get the timing of all the moving parts in sync, and it was up to chance whether there were enough bills that fell within the frame. Everything that made the final frame was a collaborative contribution from every single department. It truly elevated the initial vision of the show.\u201d<\/p>\n

Ng says her gear package helped reinforce the look. \u201cI\u2019m a huge ARRI fan and have always loved how skin tones were captured on their sensors,\u201d she shares. \u201cI wanted Ziwe to glow.\u201d Ng adds that she \u201cday-played\u201d a few lenses for specific sketches and chose the uncoated Cooke S4s \u201cbecause I wanted this job to feel all the flares and have soft blacks.\u201d<\/p>\n

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Ng is a “huge ARRI fan” who says: “I’ve always loved how skin tones were captured on their [ALEXA Mini] sensors. I wanted Ziwe to glow.\u201d Above: Episode 1, “55%”<\/figcaption><\/figure>\n

Assisting with on-set color was DIT Jaime Chapin, whom Ng says she trusted <\/strong>\u201cto help me look out for things that I may have missed; a DIT is a fresh set of eyes to notice tint shifts, flicker, and lens abnormalities. Since I knew Jaime as a colorist first, I was very excited to live-grade with her while we were shooting.\u201d The pair created looks for each sketch, starting with a base LUT and tweaking from there. \u201cIt was a real blast working with Christine,\u201d Chapin adds. \u201cShe approached each sketch differently; it was more like doing a series of short films, which kept us on our toes.\u201d<\/p>\n

Chapin sent stills every day after shooting wrapped so Ng could use them during the grading process. This was especially helpful since COVID restrictions kept the DP from sitting in with the colorist. She used the stills to create detailed notes for the colorist.<\/p>\n

Steadicam also plays prominently in the show, particularly in the \u201cWet Diaper\u201d (\u201cGoo Goo Gah Gah\u201d) musical number. Ng deployed ARRI Shift & Tilts and encouraged Eraud to experiment. \u201cI got to play around a lot,\u201d the operator recalls. \u201cThe video itself was hilarious, so helping to make it even funnier was a blast.\u201d The interviews and one segment, \u201cWoke Wars,\u201d were captured live with real people \u2013 no second takes or pick-ups. \u201cWith three cameras covering up to three subjects with tons of props and gameshow gags, it was a delicate dance to make sure we were covering singles, wides, and other elements necessary to telling the story,\u201d Sanford explains. Ng selected Ang\u00e9nieux\u00a0zooms for these segments. \u201cDesigning the approach to ensure we captured the energy in the room was invigorating. It felt more like theater than filmmaking.\u201d<\/p>\n

Head writer and executive producer Jamund Washington (HBO\u2019s Random Acts of Flyness<\/em>) says Ng\u2019s ability to translate the show visually contributes to its success. \u201cThis is a parody of different types of media, and Christine honed in on the things that make each type unique while creating a stylish vision that contributes to the parody working,\u201d Washington says. \u201cShe\u2019s a joy to work with, and the visual style she brought is a big part of what the show is.\u201d<\/p>\n

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Ng worked closely with DIT Jaime Chapin, who live-graded and created base LUT’s. \u201cChristine approached each sketch differently,” Chapin says, “like a series of short films that kept us on our toes.\u201d Above: Episode 1, “55%”<\/figcaption><\/figure>\n

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The costume and set design also play to the powerfully feminine<\/strong> and saturated look. Prime influences for the main set and interview wardrobe, for example, included Barbie\u2019s Dream House, Obama\u2019s Oval Office, Cher Horowitz, Legally Blonde<\/em>, Elizabeth Taylor, and Zsa Zsa Gabor.<\/p>\n

\u201cIn our own ways, we were each working towards a reclaiming of the hyper-feminine,\u201d Magill asserts. \u201cThe idea is that Generation Ziwe represents the well-overdue notion that a woman\u2019s words and thoughts in the twenty-first century can and should be taken seriously no matter what she is wearing and\/or where she is sitting. She shouldn\u2019t have to mold herself into a more masculine aesthetic in her wardrobe or environment to be taken seriously; she should have the right to take up space however she chooses.\u201d<\/p>\n

Magill\u2019s production design balanced playfulness, bright colors, and classical motifs with the 20th-century postmodern architectural movement and the \u201copulence and over-the-top textures and materials of the Hollywood Regency style,\u201d Magill continues. \u201cWith over 25 different sets to shoot in 15 days, Christine\u2019s innovation brought a stunning and unique look to each of the sketches and music videos, all still fitting into our cohesive vision.\u201d<\/p>\n

Set pieces were shot on a three-wall set that had to function for the music videos, game shows, and interviews. \u201cThe side walls were solid, and the art department would re-dress those, and the back wall was frosted plexiglass,\u201d notes Chief Lighting Technician Evin Lowe. \u201cThat required some very specific lighting cues and lighting plans to execute on super-tight schedules.\u201d<\/p>\n

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\u201cIn our own ways, we were each working towards a reclaiming of the hyper-feminine,\u201d asserts Production Designer Erin Magill of the more than 25 unique sets. Above:\u00a0Cole Escola as Lisa from Episode 1, “55%”<\/figcaption><\/figure>\n

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Lowe and Ng were strategic about how many units to order to stay on <\/strong>budget and still get the flexibility to advance a few items to the next set, so that \u201cwe wouldn\u2019t start completely from scratch every time they had to move on,\u201d Lowe continues. \u201cWe raked the side walls with ARRI S120s from above and backed the plexi wall with StudioForce Twos from above and below. This gave us a lot of options, depending on the sketch, without having to spend the time we didn\u2019t have re-rigging things. We also had Lekos hung in strategic backlight positions. That setup worked hard!\u201d<\/p>\n

The lush surroundings and lighting didn\u2019t soften the sharp commentary and questioning that has made Ziwe famous. Case in point: the now-infamous interview with social commentator and executive producer of the Emmy-nominated Pretend It\u2019s a City <\/em>(Netflix). As Ng recounts: \u201cWe were nervous when Fran showed up because we were all a little star-struck, having just binged Pretend It\u2019s a City<\/em>. We usually have the guest sit in for me on camera before we roll to double-check lighting and camera angles, but Ziwe knew Fran\u2019s entrance for the first time to our set could potentially be a great comedic moment. We had already shot a few other interviews, so I felt confident we\u2019d be fine to capture her entrance properly the only time we\u2019d do it.\u201d<\/p>\n

Ng says this was a time when her documentary sensibilities came into play. \u201cYou can\u2019t ask real people to do things multiple times because it loses its authenticity, and this was one of those moments,\u201d she reflects. \u201cI find it so important to empower your operators and challenge your focus pullers, and this was just one example where both were incredible. They were ready for anything!\u201d<\/p>\n

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Head Writer\/Executive Producer Jamund Washington says\u00a0Ng “honed in” on the things that make each media parody unique. \u201cChristine’s a joy to work with, and the visual style she brought is a big part of what the show is,\u201d Washington shares. \/ Photo by Barbara Nitke<\/figcaption><\/figure>\n

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Another standout segment was \u201cThe Story of Ziwe<\/strong>,\u201d a de facto<\/em> trailer for the star\u2019s fictional biopic. \u201cIt had to feel like a 200-million-dollar movie trailer in a way we were not resourced to do at all,\u201d Washington recalls. \u201cWhat Christine and her department did with that was phenomenal.\u201d<\/p>\n

Ng used the Anamorphic Cooke SF\u2019s for the sketch because she and Sanford wanted it to feel ultra-Hollywood. \u201cThere\u2019s nothing more Hollywood than anamorphic,\u201d Ng laughs. \u201cI even made the aspect ratio narrower than traditional anamorphic to punch up the joke.\u201d<\/p>\n

One thing that wasn\u2019t classic Hollywood was the diversity of cast and crew. \u201cFor so long the film and television industry has been afraid to give any power to anyone different for fear they would fail,\u201d Lowe asserts. \u201cThe ZIWE<\/em> crew showed how completely without merit those fears are.\u201d<\/p>\n

Sun was Ng\u2019s first call after landing the show, and together they began recruiting their team. \u201cIt\u2019s so important to me that my crew reflect the world I live in,\u201d Ng concludes. \u201cI am queer, I grew up in Queens [New York], and I was born in Hong Kong. Being able to hire people that aren\u2019t always represented in the industry is so valuable. It makes me happy to inspire young queer people of color that they have a place in this industry. Of course, I still hire white men \u2013 the traditional look of a camera crew \u2013 because diversity is about inclusivity<\/em>. Hiring one person does not have to mean leaving someone else out. I was inspired every day on this show by the beautiful faces on our crew, all filled with positive and creative energy.\u201d<\/p>\n

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The Hong Kong-born-Queens, NY-raised Ng (middle with red hat) says “being able to hire people that aren\u2019t always represented is so valuable to me. It makes me happy to inspire young queer people of color that they, too, have a place in this industry.”<\/figcaption><\/figure>\n

 <\/p>\n

Ziwe: Local 600 Crew<\/strong><\/span><\/p>\n

Director of Photography\/B-Camera Operator: Christine Ng<\/p>\n

A-Camera Operator\/Steadicam: Laura Eraud<\/p>\n

C-Camera Operators: Nadine Martinez, Meg Kettell<\/p>\n

A-Camera 1st AC: Michelle Sun<\/p>\n

B-Camera 1st AC: Jason Rihaly<\/p>\n

C-Camera 1st AC: Haffe Acosta<\/p>\n

A-Camera 2nd AC: Alivia Borab<\/p>\n

B-Camera 2nd AC: Jon Sandin<\/p>\n

C-Camera 2nd AC: Alfonso Diaz<\/p>\n

DIT: Jamie Chapin<\/p>\n

Unit Still Photographers, Greg Endries, Barbara Nitke<\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Christine Ng leads a rainbow-colored room of Guild members through the many looks of ZIWE, Showtime’s groundbreaking variety series.\u00a0 by Margot Carmichael Lester \/ Photos by Greg Endries \/ Showtime Networks   \u201cZIWE is not just a comedic variety show, it challenges you to have productive conversations with people about hard things,\u201d shares Guild Director of Photography Christine Ng [ICG Magazine December 2019]. \u201cIt makes you assess your take on societal norms that you may have either taken for granted […]<\/p>\n","protected":false},"author":2,"featured_media":11386,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"footnotes":""},"categories":[2,10],"tags":[],"class_list":["post-11380","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features","category-web-exclusive"],"acf":[],"yoast_head":"\nLate-Late Night - 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