{"id":12497,"date":"2023-03-08T10:39:12","date_gmt":"2023-03-08T18:39:12","guid":{"rendered":"https:\/\/www.icgmagazine.com\/web\/?p=12497"},"modified":"2023-03-08T13:52:33","modified_gmt":"2023-03-08T21:52:33","slug":"carmageddon","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/carmageddon\/","title":{"rendered":"Carmageddon"},"content":{"rendered":"

Sporting a distinctive visual aesthetic established by Guild Director of Photography Jay Hunter, NBC’s American<\/em> Auto<\/em> roars off in high gear for Season 2.<\/p>\n

by Kevin Martin \/ Photos by Greg Gayne\/NBC<\/span><\/span><\/p>\n

 <\/p>\n

\n

Showrunner \/EP\/Writer Justin Spitzer developed the initial<\/strong> concept for American Auto <\/em>nearly a decade ago, after concluding a long stretch writing and producing The Office<\/em>. While researching the auto industry, Spitzer secured tours of the Ford Motor Company\u2019s corporate and design\/production facilities in Michigan. Failing to generate interest in the upper-management-focused project, he turned his attention to another office comedy, the hilarious and successful Superstore<\/em>. During this time, Spitzer formed a team of behind-the-scenes creatives who would support his vision for the workplace-based series; many of them would later extend their collaboration with him when he signed with Universal Television to revive the American Auto<\/em> concept, which made its debut on NBC in 2021.<\/p>\n

After the series was greenlit, Spitzer approached his Superstore<\/em> Director of Photography Jay Hunter, whose r\u00e9sum\u00e9 also includes sitcoms, unscripted, and such indie features as Paper Heart<\/em>, Life After Beth<\/em>, and Joss Whedon\u2019s Much Ado About Nothing<\/em>. Hunter says he was supposed to shoot the pilot, \u201cbut when COVID happened, all the schedules got out of whack, and so by the time it went, I was back from hiatus and shooting Superstore<\/em>. When I came on for the new series, both Justin and I agreed it was a good idea to elaborate further on what [Guild Director of Photography] Benjamin Kasulke had done with the pilot.\u201d<\/p>\n

Part of that process involved developing a look that was differentiated from their previous collaboration. \u201cEssentially we customized a new visual language for American Auto<\/em>,\u201d Hunter continues. \u201cWhile brainstorming, I thought of Veep<\/em>, which is a favorite of mine both for the writing and the comedic rhythms. I thought this series might be cut from a similar visual cloth. Justin was thinking along the lines of Succession<\/em>, which I also love but is a very different style. Those shows and looks were our starting point.\u201d<\/p>\n

 <\/p>\n

\"\"
Director of Photography Jay Hunter says, “many comedies don\u2019t invest time and effort when it comes to subtleties in lighting or set construction. I create most of our lighting to reflect that the illumination is coming from exterior sources, and introduce \u2018flaws\u2019 or inconsistencies of the type that are typical in real locations.\u201d Above: Episode 203 “Celebrity”<\/figcaption><\/figure>\n

 <\/p>\n

While the pilot had been shot at an unused auto<\/strong> plant in City of Industry, in eastern L.A. County, the series would, for the most part, lens on new sets built at NBCUniversal soundstages. \u201cThe flexibility to control lighting and pull walls if necessary was going to be a big net gain of being on stage,\u201d Hunter continues. \u201cWe didn\u2019t build it as a slavish recreation of the pilot location, feeling that the way to go for a series \u2013 which could have a potentially long run \u2013 would utilize the general look but differ significantly in layout and style.\u201d<\/p>\n

Another\u00a0Superstore<\/em>\u00a0creative, Elliot LaPlante, also came aboard. Initially working as art director under Season 1 Production Designer Michael Gallenberg, she has since taken over the role of production designer for Season 2. LaPlante says, \u201cIt\u2019s immensely valuable that this creative team has worked together for some years now.\u00a0We\u2019re a close-knit group. We have a shorthand, we trust each other, and we know how Jay likes to shoot. By this point, we can usually anticipate issues before they arise, and chase down solutions that best serve the story.\u201d\u00a0 And since Spitzer most often worked from the writer\u2019s room, LaPlante, Hunter (who also directed one episode in Season 2), and either of the 1st AD\u2019s \u2013 Ross Novie (who, like Hunter, also directed a Season 2 installment) and Mike Helfand \u2013 formed an on-set triumvirate for Producer Meg Schave and the incoming directors.<\/p>\n

One key objective for the set builds was \u201cto deliver a sense of scope and spectacle that is often hard to achieve on stage,\u201d LaPlante continues. \u201cWhat struck me most in looking at the headquarters of various high-end auto companies was the openness of the space and the cohesive\u00a0visual\u00a0language throughout.\u00a0When creating Payne Motors, we looked to do the same \u2013 focusing on strong branding, repeated visual elements, high-end finishes, and lots of glass. The set itself is constructed on a track, so we can capture the sense of scale and movement in those banter-ific walk-and-talks. Long throws punctuated by glass walls inside the offices, giant floor-to-ceiling windows on the outside with daylight illumination, and our 180-degree-wide curved backing \u2013\u00a0there is visual interest no matter which direction the camera faces.\u00a0Also, no hallway on our set ends in a flat wall or straight line. I wanted the viewers to have the sense that everything flowed seamlessly, so we used a lot of curved walls to draw the eye forward.\u201d<\/p>\n

To enhance the high-end, corporate feel, custom wood paneling was incorporated. \u201cThere\u2019s a distinctive wood-slat finish throughout the set that I\u2019m probably way too obsessed with, and I owe a great\u00a0deal of thanks to our\u00a0amazing construction\u00a0team that hand-milled, stained, and applied each piece,\u201d La Plante adds. \u201cWe did it in a white-oak style, and it\u2019s been a great lesson in the functionality of design.\u201d The slate look ingeniously contributed to a shortcut for shooting. \u201cThere are televisions in nearly every room,\u201d she continues, \u201cand in the case of our lead character\u2019s office, it is hidden behind those sliding white oak slat doors, so we don\u2019t have to always see media being displayed or a blank screen. The added bonus was that these doors also work as camera ports, so we can quickly open up the offices and shoot from that angle without having to pull walls.\u201d<\/p>\n

 <\/p>\n

\"\"
American Auto\u00a0<\/em>aims to deliver a sense of scope and spectacle that’s often hard to achieve on stage. \u00a0\u201cWhat struck me most in looking at the headquarters of various high-end auto companies,” explains Production Designer Elliot La Plante, “was the openness of the space and the cohesive\u00a0visual\u00a0language.\u00a0When creating Payne Motors, we used strong branding, high-end finishes, and lots of glass.” Above: Episode 205 “Cost Cutting” \/ Photo by Adam Rose\/NBC<\/figcaption><\/figure>\n

 <\/p>\n

For Hunter, a typical failing in comedy is how sets <\/strong>don\u2019t often come off as distinct locations. \u201cMany comedies don\u2019t invest time and effort when it comes to having subtleties in lighting or set construction,\u201d he describes. \u201cI create most of our lighting on the main set to reflect that the illumination is coming from outside exterior sources. I\u2019ll set the color temperature at 4300 Kelvin, so that gives us a cooler light. We created both a soft ambient source as well as a hard sun source, providing visual variety. Other series might use half what we do for that aspect, plus they\u2019ll balance the daylight sources to match the interiors. Instead, I like to introduce \u2018flaws\u2019 or inconsistencies of the type you always wind up getting when shooting in real locations.\u201d<\/p>\n

Key to making the big-window look work was the scenery outside the glass, manufactured by J.C. Backings. \u201cWe had to do a lot of work to determine where we\u2019d have the horizon line,\u201d recalls LaPlante. \u201cWe wanted to always represent a huge expanse of sky, no matter what direction you look. We also had to do blur tests to determine just how much to unsharpen the image so that it looks out of focus to an appropriate degree.\u201d<\/p>\n

To sell these rooms with a view, Hunter continued to treat the stage like a real location. \u201cIn reality, the sky would be ten stops over on a real location and the landscape eight,\u201d he observes. \u201cWe have a lot of 20K hard lights outside the windows. I figure out the time of day, then put the 20K\u2019s at an appropriate angle. It can look a little ugly if we\u2019re emulating one p.m., but embracing that defect is a great way to start the lighting \u2013\u00a0although, I will then try to smooth around the edges, so to speak, of this bump we\u2019ve put in the rug. If we spend the next few years shooting hundreds of scenes in these offices, it would be very boring to stick with a static look throughout. The grip\/electrical crew [led by Key Grip Travis Belgard and Chief Lighting Technician Justin Duvall] sometimes has it tougher as a result. But approaching each scene on its own contributes to the feel of the show.\u201d<\/p>\n

 <\/p>\n

\"\"
Spitzer’s preference to “cross-shoot,” keeps all of the show’s operators on their toes. \u201cJustin likes the frames on each cross to match, which is different from other series,” explains A-Camera Operator Adam Tash. “So, we take care to achieve matching compositions in each direction with the same focal lengths.” Above: Episode 203 “Celebrity”<\/figcaption><\/figure>\n

 <\/p>\n

The pilot was shot on ARRI AMIRAS, and although Hunter <\/strong>inherited that decision, he says his team learned to love it. \u201cIt\u2019s the same guts-wise as the ALEXA Mini,\u201d he explains. \u201cBut it feels balanced well for handheld, and we often work off-the-shoulder. We shoot 3.2K resolution, which gets down-resed to 1920-by-1080 for delivery, so it isn\u2019t like we need the latest and greatest camera. Spending money on that for the network is, for me, like spinning your wheels in the wrong direction. Also, by using a less expensive camera, I have money to get more lenses we might not otherwise afford. We always carry a remote head with us on the truck in case of a special shot.\u201d<\/p>\n

Other gear includes Fisher, Creeper Butt and Rickshaw Dollies \u2013 the latter being especially useful for walk-and-talks since Spitzer dislikes smooth dolly moves. \u201cThe Cartoni Airfloater is another such tool,\u201d notes A-Camera Operator Adam Tash. \u201cLike a volleyball, but in a fancier package, it lets us stay on the Fisher while still achieving that handheld look \u2013 and without breaking our backs.\u201d Production prepped at Panavision Woodland Hills. A-camera 1st AC Jason Zakrzewski, who has worked with Hunter for nearly a decade, notes that workhorse lenses for the series include three Ang\u00e9nieux Optimo zooms: 15-40 mm, 28-76 mm, and 45-120 mm. \u201cThey\u2019re compact, lightweight and let him achieve a wide variety of focal lengths without losing time changing lenses.\u201d<\/p>\n

American Auto<\/em> also keeps a RED Komodo on hand for when \u201cThe Beast\u201d is employed. \u201cThat\u2019s a very rare piece of glass: the ISCO 140- to 420-millimeter zoom, created by Clairmont,\u201d Hunter smiles. \u201cThree of the four made are still around, and I got one of them. \u2018The Beast\u2019 is super-fast and razor-sharp, but unwieldy and gargantuan. Your typical handheld comedy show wouldn\u2019t carry this in their arsenal, but since we aren\u2019t spending much on the camera platform, this kind of useful oddity does become an option, and in turn that helps refine and shape our look with its unusual qualities.\u201d<\/p>\n

 <\/p>\n

\"\"
“Because we are thought of as a handheld show,” Hunter describes, “there might be an instinct for a new director to think \u2018mockumentary,\u2019 wanting to do a lot of zooms and whip-panning…but we have a more refined version of the v\u00e9rit\u00e9 look; the camera is never active in a self-conscious kind of way.\u201d \/ Above: Steadicam Operator Neal Bryant shooting Episode 201 “Crisis”<\/figcaption><\/figure>\n

 <\/p>\n

Hunter says his typical preference is to keep postproduction in post. <\/strong>\u201cGoing lean-and-mean and not doing color work [on set] is necessary because our sets move very fast,\u201d he shares. \u201cI pretend I\u2019m working off a particular film stock. I might check the LUT and realize highlights are looking a little burned out, but that doesn\u2019t make it a panic situation where I have to ask a grip to set a net or a flag. Since I\u2019m shooting Log-C, I can pull those highlights back later and consequently won\u2019t stress out about it.\u201d<\/p>\n

DI Colorist Jim Garrow collaborated with Hunter to lock in a distinctive LUT that helped the show create a unique look among comedy series. Starting with a film look found in the ARRI library gave the pair inspiration for their exploration. \u201cThis happened when COVID first hit,\u201d Garrow relates, \u201cso Jay wasn\u2019t able to come in. But he had a calibrated iPad, so we could bounce ideas back and forth. In general, the look is low-contrast and more unsaturated than other network comedies, with blacks going toward blue. If Jay adds warm light anywhere, it is while keeping in mind how that will play with the established look. Season 2 opens with a show that features a distant fire, so that\u2019s an example of how we played with departures from the established look for contrast. Jay also changed the exposure on the windows, so they read a little hotter in the second season. But it is subtle; it doesn\u2019t read any differently on a vectorscope.\u201d<\/p>\n

Spitzer and Hunter collaborated on a style guide for the show\u2019s look as an aid to new directors. \u201cI\u2019m usually shooting when Justin has a tone meeting with the director, so this tool lets them get specific with him about approaches long before going on set,\u201d Hunter describes. \u201cWe do have a lot of rules \u2013 some things we never do and other things are done only sparingly. For example, it is very rare for us to use wide lenses \u2013 35 millimeters is pretty extreme for us, with wides shot on a 50 millimeter. Because we are thought of as a handheld show, there might be a first instinct for a new director to think \u2018mockumentary,\u2019 wanting to do a lot of zooms and whip-panning, but that isn\u2019t our thing. We have a more refined version of the v\u00e9rit\u00e9 look; the camera is never active in a self-conscious kind of way.\u201d<\/p>\n

 <\/p>\n

\"\"
Colorist Jim Garrow says that “in general, the look is low-contrast and more unsaturated than other network comedies, with blacks going toward blue. If Jay adds warm light anywhere, it is while keeping in mind how that will play with the established look.” \/ Above: Episode 206 “The Letter”<\/figcaption><\/figure>\n

 <\/p>\n

Since Spitzer prefers that production cross-shoot,<\/strong> Hunter always fields three cameras. \u201cThat lets us get both sides of a scene plus a wider view simultaneously,\u201d he states. \u201cBut the biggest challenge comes from the cross-shooting, as it\u2019s always a puzzle to solve, making the actors look good from three angles simultaneously. Justin wants realism and believability above all else, which can sometimes make your inner cinematographer voice complain that that goes against making things pretty and photographically perfect. But in thinking it through, you realize the truth in his take and how it keeps all the elements in service to the story.\u201d<\/p>\n

The cross-shooting does offer benefits for editorial, especially when the actors go off on a \u201cfun run\u201d \u2013 a take allowing them to engage in improv that always keeps Tash and fellow Season 2 camera operators Danny Whiteneck and Jacob Pinger on their toes. \u201cThose takes when the performers ad-lib sometimes produce real gold,\u201d states Tash, \u201cand that is a part of the show\u2019s charm. Having coverage for those moments helps us preserve them. And Justin likes the frames on each cross to match, which is different from other series. So, we take care to achieve matching compositions in each direction with the same focal lengths.<\/p>\n

Hunter generally chooses to utilize three-quarter backlighting to cross-key the principals. \u201cEverybody\u2019s side- and edge-lit; that\u2019s our look and we try to adhere to it whether on stage or during the occasional location shoot,\u201d he explains. The latter situation is where cross-shooting poses greater difficulties. \u201cDepending on the location, there\u2019s a chance we may have to limit the shoot to directional work,\u201d he adds. \u201cPre-rigging helps, but if we can\u2019t put a lighting unit up in the ceiling, it can impact our ability to shoot multiple cameras. And while that\u2019s fine from my perspective, for the showrunner, it can be a major bummer.\u201d<\/p>\n

 <\/p>\n

\"\"
On stage or location, Hunter tries to keep the stop at F\/4, which helps 1st AC Jason Zakrzewski and his fellow AC\u2019s manage focus. \u201cThere are times when we\u2019re only a half-stop from wide-open, which can be another big challenge for the three of us,\u201d Zakrzewski says. \u00a0\/ Above: B-Camera Operator Danny Whiteneck<\/figcaption><\/figure>\n

 <\/p>\n

Whether on stage or location, there is a concerted effort to keep<\/strong> the stop at about F\/4, which gives Zakrzewski and his fellow AC\u2019s a good shot at managing focus. \u201cThere are times when we\u2019re only a half-stop from wide-open, which can be another big challenge for the three of us,\u201d Zakrzewski acknowledges. \u201cI\u2019ve been an AC for 25 years and pulled focus about half that time. Even with all the advances, I still run a tape to measure and confirm distances while at the monitor with the Light Ranger, plus there\u2019s a Preston Hand Unit 4.\u201d<\/p>\n

All of these tools come into play to facilitate the dance between the operator and the focus puller. \u201cJay lets the operators know what kinds of shot he expects from each, but the matter of how each shooter achieves that is their own business to work out,\u201d Zakrzewski continues. \u201cWhen we have a shot of six actors at a table, Adam [Tash] is probably following dialog as he jumps back and forth between actors. So, rehearsal for us is mainly his communicating to me where he is going to go and what he is going to do, and then we just knock it out.\u201d<\/p>\n

Another aspect of American Auto <\/em>cited in the style guide relates to \u201cforegrounding,\u201d which derives from Spitzer\u2019s love of shooting through and around objects and figures. \u201cWe\u2019ll take platters of props and set dressing, arranging them on apple boxes in front of the lens,\u201d Hunter recounts. \u201cHe also likes our coverage to be done over someone\u2019s shoulder, feeling that a dirty frame reflects the feeling that represents the viewpoint of a passive observer.\u201d Tash embraces the approach. \u201cMy perspective is that the foregrounding is part of what makes the show unique compositionally. When we break up the frame, it\u2019s not done in a voyeuristic way; it isn\u2019t supposed to be like the camera is hiding in a bush.\u201d<\/p>\n

Distancing itself from the mockumentary genre pioneered by The Office<\/em>, the show usually eschews using zoom-ins. \u201cThey get seriously overused in comedies,\u201d Hunter observes. \u201cFollowing a punchline with a zoom-in to someone\u2019s reaction to accentuate the moment is what Justin and I call a \u2018rimshot zoom.\u2019 Not only does it feel like a very played-out trope, but it also makes the camera-observer more of a participant in a way we don\u2019t like, commenting on the action almost like a laugh track does.\u201d Traditional cinematic language also undergoes something of a translation in the series. \u201cOur version of an extreme closeup is pretty wide, from the belly button on up,\u201d Hunter adds. \u201cWe hold off on head-and-shoulders close-ups, saving them for special moments. Justin and I both think the humor comes out best in three-shots and four-shots.\u201d<\/p>\n

 <\/p>\n

\"\"
Hunter generally chooses to utilize three-quarter backlighting to cross-key the principals. \u201cEverybody\u2019s side- and edge-lit; that\u2019s our look and we try to adhere to it whether on stage or during the occasional location shoot.” Above: Episode 206 “The Letter”<\/figcaption><\/figure>\n

 <\/p>\n

For the digital intermediate, Jim Garrow relied on Blackmagic <\/strong>Design\u2019s Resolve,<\/strong> utilizing online output mode to create nodes for each episode. \u201cI time the show to look relatively normal on the first pass, then apply what is called my \u2018final color-correction node,\u2019 pasting that in on top at the tail of that pass,\u201d he explains. \u201cFrom there, I do a second and final pass on the whole episode. Given that we have a distinctive look, doing normal correction first and then applying the look is the most efficient way to go. We also have certain aspects that require separate treatment. Whenever we have monitor comps with ENG-type footage, we deliberately make it look more contrasty and \u2018normal\u2019 than the rest of the show, which makes this element pop.\u201d<\/p>\n

Hunter sees the philosophy behind the series as straightforward and effective. \u201cOn Justin\u2019s shows, everybody knows it is about what we can do in helping deliver both story and character,\u201d he states. \u201cIt\u2019s not a showcase for demonstrating talent with a fancy camera move or some other showy aspect that detracts from the episode. And our entire team is good with that.\u201d<\/p>\n

He cites an episode in season one of American Auto<\/em>\u2019s ensemble unity from both the crew and cast. \u201cThe characters are shooting three commercials on the same set, so we were using multiple cameras to shoot the various cast, plus there were live feeds for what they shot showing on these monitors,\u201d Hunter concludes. \u201cSo, we had seven cameras going nearly all day, and seeing our characters \u2013 instead of our crew \u2013 at Video Village as they reviewed all this imagery was crazy! It could melt people\u2019s brains if you let it, but our team handled it all like the pros they are. I wouldn\u2019t have wanted to try that with any other group of people.\u201d<\/p>\n

 <\/p>\n

\"\"
“On Justin\u2019s shows, everybody knows it is about what we can do in helping deliver both story and character,\u201d Hunter concludes. \u201cIt\u2019s not a showcase for demonstrating talent with a camera move or any other showy aspect that detracts from the episode.” Above: Episode 203 “Celebrity”<\/figcaption><\/figure>\n

 <\/p>\n

Local 600 Crew \u2013 American Auto – Season 2<\/strong><\/span><\/p>\n

Director of Photography: Jay Hunter<\/p>\n

A-Camera Operator: Adam Tash<\/p>\n

A-Camera 1st AC: Jason Kakrzewski<\/p>\n

A-Camera 2nd AC: Blake Hooks<\/p>\n

B-Camera Operator: Danny Whiteneck<\/p>\n

B-Camera 1st AC: Brandon Margulies<\/p>\n

B-Camera 2nd AC: Estefania Garcia<\/p>\n

C-Camaera Operator: Jacob Pinger<\/p>\n

C-Camera 1st AC: Ken Bender<\/p>\n

C-Camera 2nd AC: Robyn Buchanan<\/p>\n

Loader (Ep 201-209): Jajaira Corria<\/p>\n

Loader (Ep. 210-211): Zac Prange<\/p>\n

Loader (Ep 212-213): Liam White<\/p>\n

Utility (Ep 201-202,208,210,213): Lauren Vanderwerken<\/p>\n

Utility (Ep 203-207, 211-212): Kyle Kimbriel<\/p>\n

Unit Still Photographers: Greg Gayne, Adam Rose, Trae Patton, Ron Batzdorff<\/p>\n","protected":false},"excerpt":{"rendered":"

Sporting a distinctive visual aesthetic established by Guild Director of Photography Jay Hunter, NBC’s American Auto roars off in high gear for Season 2. by Kevin Martin \/ Photos by Greg Gayne\/NBC   Showrunner \/EP\/Writer Justin Spitzer developed the initial concept for American Auto nearly a decade ago, after concluding a long stretch writing and producing The Office. While researching the auto industry, Spitzer secured tours of the Ford Motor Company\u2019s corporate and design\/production facilities in Michigan. Failing to generate […]<\/p>\n","protected":false},"author":2,"featured_media":12525,"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-12497","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features","category-web-exclusive"],"acf":[],"yoast_head":"\nCarmageddon - 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\/carmageddon\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Carmageddon - ICG Magazine\" \/>\n<meta property=\"og:description\" content=\"Sporting a distinctive visual aesthetic established by Guild Director of Photography Jay Hunter, NBC’s American Auto roars off in high gear for Season 2. by Kevin Martin \/ Photos by Greg Gayne\/NBC   Showrunner \/EP\/Writer Justin Spitzer developed the initial concept for American Auto nearly a decade ago, after concluding a long stretch writing and producing The Office. While researching the auto industry, Spitzer secured tours of the Ford Motor Company\u2019s corporate and design\/production facilities in Michigan. 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