{"id":12128,"date":"2022-09-06T08:40:52","date_gmt":"2022-09-06T15:40:52","guid":{"rendered":"https:\/\/www.icgmagazine.com\/web\/?p=12128"},"modified":"2022-09-06T10:40:50","modified_gmt":"2022-09-06T17:40:50","slug":"childs-play","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/childs-play\/","title":{"rendered":"Child’s Play"},"content":{"rendered":"

Director of Photography Matthew Williams leans into his long-time filmmaking partners to visualize the new Apple TV+ series, Amber Brown.<\/em><\/span><\/span><\/p>\n

by Margot Lester \/ Photos by James Daniel Nell \/ Apple TV+<\/span><\/span><\/p>\n

 <\/p>\n

\n

\u201cMy mom always told me there\u2019s a ripple effect to all the energy we put out there,\u201d recalls Bonnie Hunt, developer, and executive producer of Apple TV+\u2019s new kids\u2019 show, Amber Brown<\/em>. \u201cThat\u2019s true for storytelling. It affects people that greatly, so we have to be mindful. That\u2019s what I thought about on this series because it was for young kids to watch with their parents.\u201d<\/p>\n

The result is a different kind of program where the parents aren\u2019t hapless or bitter and the kids aren\u2019t bratty or wise beyond their years, and where the colors aren\u2019t super-saturated and the camera language doesn\u2019t rely solely on the usual comedic tropes.<\/p>\n

Amber Brown<\/em> tells the story of 11-year-old Amber (Carsyn Rose), her two closest friends \u2013 Justin and Brandi, with an \u201ci\u201d \u2013 her divorced parents, Mom\u2019s new boyfriend and Aunt Pam. Hunt developed the story from the popular children\u2019s books of the same name, penned by Paula Danziger.<\/p>\n

\u201cI wanted full awareness of the characters at the top of their intelligence,\u201d Hunt says.<\/p>\n

 <\/p>\n

\"\"
Writer\/Director\/Executive Producer Bonnie Hunt had a\u00a0specific look in mind \u2013 sophistication versus over-saturation. \u201cI wanted it to be a show, not a coloring book,\u201d Hunt shares. “And when hiring a DP, she adds,\u00a0\u201cIt\u2019s about their personality and willingness to collaborate, to help you bring your vision to life. I knew Matt [Williams] would do that. I knew that he cared.\u201d<\/figcaption><\/figure>\n

The characters are multidimensional. They\u2019re sweet and funny<\/strong> and smart. And flawed, of course, but in real and relatable ways. Every one of them is aware of what\u2019s going on in their world and is trying to figure it all out \u2013 together. That last part is crucial, both to the storyline and to the production itself. Hunt is passionate about collaboration. Maybe it comes from being one of seven kids. Maybe it comes from her early career in sketch and improv comedy. Wherever it comes from, she\u2019s great at it and looks for it in her crew.<\/p>\n

\u201cI interviewed DP\u2019s over Zoom, and once I talked to Matt, I could just tell he was the one,\u201d Hunt says of meeting Guild Director of Photography Matthew Williams. Her standards were high. On one of her early projects, 1984\u2019s Only You<\/em>, Hunt befriended legendary Swedish cinematographer Sven Nykvist, who became an early mentor to the writer-actor-director. \u201cIt\u2019s not only about respecting a DP\u2019s experience,\u201d Hunt adds. \u201cIt\u2019s about their personality and willingness to collaborate, to help you bring your vision to life. I knew Matt would. I knew that he cared.\u201d<\/p>\n

Williams says he\u2019s \u201calways loved working on projects that start from the ground up, where everyone involved is creating something new and unique.\u201d So, he leaned into the prep time to find the correct feel and balance for the show. \u201cI had six weeks of prep to be right there when location scouting was happening and the sets were being built, and I could relay my thoughts or ideas as they arose,\u201d Williams remembers. \u201cWhen everyone arrived the day before shooting began, there was very little that wasn\u2019t already discussed and executed.\u201d<\/p>\n

 <\/p>\n

\"\"
First AC Tahlee Scarpitti says that with the ALEXA Mini LF’s shallow depth of field, “we often had to shoot at a deeper stop than preferred to hold focus between actors that were less than a foot [separated],” she explains. “It felt awkward to have two characters in a frame standing close to one another and neither being in focus. The shallow depth of field required Matt to add a significant amount of light to hold all the actors in a scene.\u201d<\/figcaption><\/figure>\n

Hunt had a specific look in mind \u2013 sophistication versus over-saturation.<\/strong> \u201cI wanted it to be a show, not a coloring book,\u201d she quips. Hunt, Williams, and Production Designer Konnor Jensen worked together to develop a palette of bright but gentle tones, not the usual vibrant primary colors. The hues combine with less depth of field and more shaped lighting to achieve a more filmic look.<\/p>\n

\u201cI wanted to use my number-one favorite camera that I\u2019ve used for the last six years, the ALEXA Mini, as I\u2019ve done for High School Musical<\/em> and Andi Mack<\/em> \u2013 both in 4K,\u201d Williams says. \u201cBut Apple wanted to use cameras with a native 4K sensor. As far as lenses go, I wasn\u2019t sure of the schedule giving us enough time to react quickly, so I decided for the first time to go with zoom lenses instead of primes on the A and B cameras. I chose the Fuji Premista Zooms as they had a nice organic look that worked well with the Mini LF, which suited the nature of the feel we were going after.\u201d The smaller and lighter Fujis provided the 2.9 aperture he wanted and saved time \u2013 always important with minors on the set. He also used Canon Cine Primes for specialty shots.<\/p>\n

\u201cI like to pick a stop and shoot as much as possible at the stop for consistency,\u201d Williams adds. \u201cI decided to rate the LF at 1600 as my base ISO so I could work with a 4.0 on the interior sets most of the way. I know the larger sensor doesn\u2019t technically create less depth of field, per se<\/em>, and that moving to the equivalent lens field of view and moving the camera is a way to keep that same field of view and depth of field, but I didn\u2019t think that was the proper way to go with this show.\u201d<\/p>\n

First AC Tahlee Scarpitti was surprised by the LF\u2019s shallow depth of field.\u00a0\u201cWe often had to shoot at a deeper stop than preferred to hold focus between actors that were less than a foot [separated],\u201d she remembers.\u00a0\u201cIt felt awkward to have two characters in a frame standing close to one another and neither being in focus. The shallow depth of field required Matt to add a significant amount of light to hold all the actors in a scene.\u201d<\/p>\n

 <\/p>\n

\"\"
For some of the challenging interior scenes, Williams falls back on experience with his long-time partners. “[Chief Lighting Technician] John [Raymer] and I have done this several times together,” Williams recounts, “and we approach things in a similar way, style-wise. That saves a lot of time to know what works best to get the look we want, as most of those decisions have to be made in prep before we ever get to light the set.\u201d<\/figcaption><\/figure>\n

Chief Lighting Technician John Raymer watched rehearsals carefully<\/strong> and would suggest changes in blocking to help accommodate coverage and its relationship to lighting. \u201cEven though the camera is able to capture images in low light,\u201d Raymer observes, \u201cthe advantage of raising the light level in controlled environments\u00a0like stages is that it allows for actors to move freely and allows for increased productivity with multiple camera angles.\u201d<\/p>\n

The interiors were among the most challenging sequences due to space and budget.<\/p>\n

Williams says he always likes to see and feel the outside through the windows where possible \u2013 keeping the feel of being in a real location and not looking like a set. \u201cIt\u2019s not always easy to do,\u201d he states, \u201cand this is where I fall back on experience with the team \u2013 gaffer, production designer, scenic and greens supervisors \u2013 to help create the illusion of a real house. John and I have done this several times together and we approach things in a similar way, style-wise. That saves a lot of time to know what works best to get the look we want, as most of those decisions have to be made in prep before we ever get to light the set.\u201d<\/p>\n

A lot of action takes place in Amber\u2019s bedroom and at the window that faces Brandi\u2019s, next door. \u201cAmber\u2019s room is her sanctuary. It\u2019s a world that she\u2019s created,\u201d Hunt remarks. The set is a mix of trendy 11-year-old flotsam and jetsam, lots of examples of Amber\u2019s art, some ancient wallpaper, and a very cool homemade headboard (designed by Jensen).<\/p>\n

\u201cBonnie wanted the girls\u2019 bedrooms to be able to see each other on the stage, so that was something we worked on a lot to get the perspective and the look and feel of being inside their rooms but outside across the driveway talking to each other, sometimes at the same time,\u201d Williams notes.<\/p>\n

 <\/p>\n

\"\"
A scene where Amber and Brandi (Liliana Inouye) spy on a slumber party involved two different houses on different locations with a real tree, and a fake tree that matched closely.\u00a0\u201cWe had to build a tree on the ground so we could shoot them \u2018watching\u2019 the party like they\u2019re way up in the sky,” recalls\u00a0B-Camera Operator John Williams. “I think we pulled it off as you\u2019d never know they weren\u2019t 15 feet off the ground.\u201d<\/figcaption><\/figure>\n

 <\/p>\n

One memorable scene away from home occurs in Episode 2,<\/strong> \u201cWhat They Don\u2019t Know,\u201d in which Amber and Brandi (Liliana Inouye) decide to spy on the slumber party they weren\u2019t invited to. Of course, the party\u2019s happening in an upstairs bedroom, leaving the girls no choice but to climb a tree to get a decent view of their rivals\u2019 revelry. \u201cIt was quite the logistical event involving two different houses on different locations with a real tree, and a fake tree that matched closely,\u201d Williams recounts. \u201cAnd a way to shoot from the outside over the girls\u2019 shoulders while they\u2019re talking in the tree to see into the party room, a fake tree climbing rig to get the girls in the tree \u2013 also that was safe \u2013 and to make that all blend seamlessly.\u201d<\/p>\n

B-Camera Operator John Williams (Matt\u2019s son) picks up the story. \u201cWe had to build a tree on the ground so we could shoot them \u2018watching\u2019 the party like they\u2019re way up in the sky. I think we pulled it off. You\u2019d never know they weren\u2019t 15 feet off the ground.\u201d<\/p>\n

The series relies on other techniques to capture Amber\u2019s emotions and experiences. She keeps a video diary and texts regularly, creating frequent opportunities for screen-on-screen sequences and lightweight VFX. Amber also sketches \u2013 particularly when she\u2019s in her feelings \u2013 and those pictures often come to life in animated sequences. \u201cThe video diary lets her talk out her feelings, but in the animation, I wanted her sarcasm to come through without sounding like a bratty kid,\u201d says Hunt, who was an avid sketcher herself as a kid. \u201cThe animated sequences are always character-driven to reveal more of the character and still keep her lovable and appropriate for her age.\u201d<\/p>\n

 <\/p>\n

\"\"
For moments when Amber (Carsyn Rose) speaks to the audience, Hunt envisioned a background action freeze via a blue or green screen to control the background effect, but it was time-consuming and hard to pull off with background actors and multiple takes. Enter the CineFade, which, as John Williams explains, \u201callows the depth of field to be adjusted without a noticeable change of the stop. It was a great way to make those shots stand out.\u201d<\/p>\n

<\/figcaption><\/figure>\n

 <\/p>\n

There are also moments where Amber speaks directly to the audience.<\/strong> Hunt originally envisioned these with a background action freeze. They talked about using a blue or green screen to control the background effect, but it was time-consuming and impractical in some locations. And it was difficult to pull off with background actors and multiple takes. Enter the CineFade, which \u201callows the depth of field to be adjusted without a noticeable change of the stop,\u201d John Williams explains. They used Canon Cine Primes to maintain an organic feel. \u201cIt\u2019s a very cool look that was a great way to make those shots stand out.\u201d<\/p>\n

In the sequences, Amber turns to the camera with the focus shift occurring in real time to signal to viewers that something new is happening. The trick, of course, is keeping her face in focus the whole time. \u201cVery difficult to do at times when the lens would reach a 1.3T stop,\u201d Matt Williams adds. Scarpitti adds that \u201cthe most challenging for focus pulling was the cmotion CineFade. It smoothly opens the stop and engages ND filters at the same time. When she returns to the scene, the CineFade resets the stop and removes the ND. It was a cool effect, just difficult to focus with a one-inch (or less) depth of field.\u201d<\/p>\n

Many of the camera department members have worked together before, enabling them to employ a shorthand that kept the production on schedule, despite that schedule being compressed.\u00a0\u201cWith kids in pretty much every scene, we had to work fast and efficiently to make our days \u2013 and we had fewer days than usual,\u201d John Williams says. \u201cOur well-oiled crew and the other departments stepped up to the task and made it happen.\u201d<\/p>\n

 <\/p>\n

\"\"
Of his long-time team, which includes Raymer, A-Camera\/Steadicam operator Rory Knepp, 1st AC Scarpitti, and Key Grip Al Stoddard, Williams notes: \u201cIt\u2019s why I appreciate working with union crew members, as it creates an environment of trust and quality standards that I rely on to do my best work. I can depend on them for good input to see something in a different way that I might not have thought of.”<\/figcaption><\/figure>\n

 <\/p>\n

Matt Williams has worked with A-Camera\/Steadicam operator Rory Knepp<\/strong> since the CBS series Promised Land<\/em> and Touched by <\/em>an Angel<\/em> in the late 90s. Raymer and Key Grip Al Stoddard worked with Williams on Disney\u2019s Andi Mack and<\/em>\u00a0High School Musical<\/em>. Scarpitti first worked with the DP as a loader on a Movie of the Week<\/em> about killer bees. And the younger Williams has worked with his dad on the Disney shows and the IMAX film Wired to Win<\/em>.<\/p>\n

\u201cIt\u2019s great to have people I trust to help me create what I\u2019m looking for,\u201d Matt Williams notes. \u201cAnd that\u2019s where I appreciate working with union crew members, as it creates an environment of trust and quality standards that I rely on to do my best work. I can depend on them for good input to see something in a different way that I might not have thought of. That\u2019s the key, having an experienced crew you can count on, as there are so many variables happening all the time. We pull together to create the best-looking show we can.\u201d<\/p>\n

That\u2019s something Hunt truly values.<\/p>\n

\u201cThe crew, camera operators, and DP\u2019s have always been my creative collaborators,\u201d Hunt says. \u201cThey offer me so much guidance. They want to do good work and help a vision come to life. I appreciate them so much.\u201d<\/p>\n

 <\/p>\n

\"\"
Hunt shares the same values as her Director of Photography, noting that,\u00a0\u201cthe crew, camera operators, and DP\u2019s have always been my creative collaborators. They offer me so much guidance. They want to do good work and help a vision come to life. I appreciate them so much.\u201d \/ Photo Courtesy of Apple TV+<\/figcaption><\/figure>\n

 <\/p>\n

Local 600 Crew List – Amber Brown<\/em>\u00a0<\/strong><\/span><\/p>\n

Director of Photography: Matthew Williams<\/p>\n

A-Camera\/Steadicam Operator: Rory Knepp<\/p>\n

A-Camera 1st AC: Tahlee Scarpitti<\/p>\n

A-Camera 2nd AC: Kurtis Burr<\/p>\n

B-Camera Operator: John Williams<\/p>\n

B-Camera 1st AC: David (D.R.) Rhineer<\/p>\n

B-Camera 2nd AC: Austin Green<\/p>\n

Digital Imaging Technician: Sean McAllister<\/p>\n

Digital Utilities: Stephen Gurley, Ethan Hamme<\/p>\n

Unit Still Photographer: James Daniel Nell<\/p>\n

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

Director of Photography Matthew Williams leans into his long-time filmmaking partners to visualize the new Apple TV+ series, Amber Brown. by Margot Lester \/ Photos by James Daniel Nell \/ Apple TV+   \u201cMy mom always told me there\u2019s a ripple effect to all the energy we put out there,\u201d recalls Bonnie Hunt, developer, and executive producer of Apple TV+\u2019s new kids\u2019 show, Amber Brown. \u201cThat\u2019s true for storytelling. It affects people that greatly, so we have to be mindful. […]<\/p>\n","protected":false},"author":2,"featured_media":12131,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[2,10],"tags":[],"class_list":["post-12128","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features","category-web-exclusive"],"acf":[],"yoast_head":"\nChild's Play - ICG Magazine<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.icgmagazine.com\/web\/childs-play\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Child's Play - ICG Magazine\" \/>\n<meta property=\"og:description\" content=\"Director of Photography Matthew Williams leans into his long-time filmmaking partners to visualize the new Apple TV+ series, Amber Brown. by Margot Lester \/ Photos by James Daniel Nell \/ Apple TV+   \u201cMy mom always told me there\u2019s a ripple effect to all the energy we put out there,\u201d recalls Bonnie Hunt, developer, and executive producer of Apple TV+\u2019s new kids\u2019 show, Amber Brown. \u201cThat\u2019s true for storytelling. 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It affects people that greatly, so we have to be mindful. 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