{"id":12928,"date":"2023-12-14T06:36:55","date_gmt":"2023-12-14T14:36:55","guid":{"rendered":"https:\/\/www.icgmagazine.com\/web\/?p=12928"},"modified":"2023-12-14T06:36:55","modified_gmt":"2023-12-14T14:36:55","slug":"outside-the-bun","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/outside-the-bun\/","title":{"rendered":"Outside the Bun"},"content":{"rendered":"

Director of Photography Jay Hunter, and his Guild camera team, shoot a \u201ccomedy with everything on it,\u201d for a sequel to the whacky 1990\u2019s feature, Good Burger<\/em><\/p>\n

by Pauline Rogers \/ Photos by Vanessa Clifton\/Nickelodeon\/Paramount+<\/span><\/span><\/p>\n

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\n

\u201cI\u2019ve never shot a sequel for a beloved film before,<\/strong> and we took that task very seriously,\u201d relates Guild Director of Photography Jay Hunter about Good Burger 2<\/em>. The film is a follow-up to the insanely wacky 1997 feature, based on a Nickelodeon comedy sketch about a high-school student working at a fast-food restaurant who uncovers an evil plot by a rival chain. \u201cI was a little too old for the original Good Burger<\/em>,\u201d Hunter adds. \u201cIt premiered 25 years ago and was geared toward kids. But the film has a huge following of adults who grew up with it, and an army of young ones who have discovered it recently. On top of that, the original movie was directed by Brian Robbins, the current President and CEO of Paramount!\u201d<\/p>\n

Good Burge<\/em>r 2 <\/em>was also written by the original film\u2019s writers, Kevin Kopelow and Heath Seifert, and designed by the same production designer, Steven J. Jordan. And, picking up where they left off, are the same stars, Kenan Thompson as Dexter Reed, now a budding (and completely unsuccessful) entrepreneur, and Kel Mitchell as Ed, who, 25 years later, now owns Good Burger and introduces Dex to a pack of new (and odd) employees. Hunter says that when Phil Traill, a director he\u2019s worked with on several TV projects, reached out with a chance to shoot the sequel, he jumped at the chance. \u201cThen I read the script,\u201d Hunter smiles, \u201cand my first reaction was, \u2018How in the hell are we going to shoot this with so little money and no time?\u2019 The film was dense with gags, VFX, and technical difficulties that I instinctively knew we were not budgeted for, so it seemed [at first] like this giant problem had fallen into my lap.\u201d<\/p>\n

Hunter\u2019s initial reaction to watching the original film was an equal sense of bewilderment. \u201cIt took about five viewings before I cracked the code,\u201d he shares. \u201cPeople love Good Burger<\/em> because they were 10 years old when the sketch first appeared [on Nickelodeon\u2019s All That<\/em>]. Kids loved the proto-stoner\/surfer blas\u00e9 attitude of Ed and Dex\u2019s perplexed reactions to Ed. They loved the absurdity and surreal nature of the Good Burger<\/em> world. It was a live-action cartoon, a heightened reality that is governed by a distinctly unique upside-down logic, and slapstick humor. I felt the audience takes the perspective of Dex [the comedic straight man], and the comedy is born out of him being subjected to the insanity of Ed and his GB <\/em>world.\u201d<\/p>\n

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\"\"
Director of Photography Jay Hunter describes the original Good Burger<\/em> as “a live-action cartoon…governed by a \u00a0unique upside-down logic. I felt the audience takes the perspective of Dex [the straight man], and the comedy is born out of him being subjected to the insanity of Ed and his GB world.” Above: Kel Mitchel, reprising his role as Ed, in Good Burger 2<\/em>.<\/figcaption><\/figure>\n

The approach for the sequel, as Hunter and Traill envisioned,<\/strong> was to pay tribute to the original, while still [somehow] elevating the new film. As Hunter adds: \u201cWe knew we couldn\u2019t be cynical \u2013 approaching it with an elitist attitude of \u2018We\u2019ll make a better<\/em> movie\u2019 would be a death sentence. So, it was all about trying to capture what they did on the original while adding some modern polish that the audiences expect, with the technology we have today.\u201d<\/p>\n

In studying the original, Hunter felt it was composed of both intentional and unintentional techniques, probably arising from its low-budget nature and the fact that it was the director\u2019s first film. \u201cIt\u2019s sort of an odd task trying to incorporate mistakes or \u2018things done in a rush\u2019 into the style of this new film, but that was part of our mission,\u201d he describes.<\/p>\n

For example: in Good Burger<\/em>, almost every angle is strange and unconventional. \u201cWe knew the camera had to be restless,\u201d Hunter confides, \u201cand if the shots ever felt \u2018normal,\u2019 we were doing something wrong. The look we ended up creating made every move difficult and a pain in the butt. But we knew we\u2019d be doing the sequel, and its fans, a disservice if we did it any other way.\u201d<\/p>\n

As A-Camera\/Steadicam BJ McDonnell notes: \u201cWithout the luxury of time, we would have to throw B-Camera into some weird place just to accommodate the A-Camera. Just by doing that, we stuck close to the original film, frame-wise.\u201d<\/p>\n

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One switch from the original was shooting anamorphic, with 1st AC Zach Shultz testing many different resolutions and anamorphic expanders “to ensure the lens covered and didn’t vignette horribly,” Shulz recalls. “In the end, we shot 4K 4:3 on the Venice 1 and 5.8K 4:3 on the Venice 2, so we wouldn’t have to constantly change the resolution depending on what lens we were on; or worry about punching in on the frame in post to hide vignetting.\u201d<\/figcaption><\/figure>\n

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Putting the look together came out of testing, notably with<\/strong> 1st<\/sup> AC Zack Shultz. The one thing Hunter knew he wanted to do differently was to shoot anamorphic \u2013\u00a0with Sony Venice 1 and 2 and RED Komodo \u2013\u00a0and extremely wide-angle lenses, which included Atlas Orion Primes and assorted Panavision anamorphic zooms, primes, and fisheye spherical lenses. They even used an old Panasonic ENG camera, an S35 spherical 8mm Nikkor fisheye prime, and a Fujinon 19-90mm zoom for special shots.<\/p>\n

Although Traill was onboard with the anamorphic, he thought the 2:4.1 aspect ratio was too wide. So, the compromise was 2:1, as done on Netflix\u2019s hit series, Stranger Things.<\/em> \u201cWe tested lots of different resolutions and anamorphic expanders to see what would work to ensure the lens covered and didn’t vignette horribly,\u201d Shultz recalls. \u201cWhen they decided to go with the 2:1 aspect ratio, we realized we wouldn\u2019t need expanders, and even shooting 6K 3:2 on the Venice 1 and 8.6 3:2 on the Venice 2, there was little vignetting, except for some of our wide lenses\u201d.<\/p>\n

In the end, Shultz explains, \u201cWe decided to shoot 4K 4:3 on the Venice 1 and 5.8K 4:3 on the Venice 2, so we wouldn’t have to constantly change the resolution depending on what lens we were on. Or having to worry about punching in on the frame in post to hide vignetting.\u201d<\/p>\n

Shultz says the Nikkor 8mm fisheye lens was another fun (distinctly comedic) tool used for the POV of the Ed robot. \u201cI put the lens on without changing the 2x anamorphic de-squeeze and, as I was going to change the setting, Jay stopped me and said, \u2018Wait,’ this might just be wacky enough for Good Burger,\u201d Shultz recounts. \u201c\u2019Let me send a photo of this to Phil,\u2019 who loved it, and that’s the setting we ended up using. That was the moment I knew this wasn\u2019t a traditional movie and embraced the silliness in front of, and behind, the camera.\u201d<\/p>\n

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Paying homage to the original was a priority, as in this outdoor music video dance sequence. \u201cIt was a typical Nickelodeon party scene,\u201d remembers A-Camera\/Steadicam Operator BJ McDonnell. \u201cA choreographed dance number with a musician named Yung Gravy [playing himself] as the DJ. Wide lenses to be up close to the dancers and actors using a crane to get the scope of the scene and handheld to get all up in there with the performance.\u201d<\/figcaption><\/figure>\n

The movie is so wild, that it\u2019s difficult to single out specific shots. <\/strong>Pretty much anything was fair game, with Hunter and his camera team striving to do each comedic \u201cbit\u201d in (or with the) camera and not with VFX \u2013 aside from a house being set on fire in the opening. \u201cWe couldn’t burn down an actual house, but we could use real flame throwers and smoke on set, which were then enhanced with VFX tools,\u201d Hunter shares. \u201cThe comedy of the flame thrower bit was all from the Kennan’s acting,\u201d adds McDonnell. \u201cWe had to hide the house in most shots and only shoot actors with flame throwers. All the shots of the house on fire were lock-offs. We actually did have a fake porch built with two mannequins we burned to a crisp.\u201d<\/p>\n

There\u2019s also an out-of-control chase where Ed crashes into Dex. Hunter, whose mantra is always \u201csafety first,\u201d was concerned about protecting the camera and actors and thought about doing lock-off shots. But it didn\u2019t fit the sequence. It was shot, as Hunter calls it, Buster Keaton style, on a real location in Rhode Island, with three cameras and careful coordination with the stunt coordinator. As McDonnell describes: \u201cThe stunt was broken up into a bunch of pieces. We did the typical three-camera hose down, which I believe most were lock-offs. However, I recall my camera not being locked off and tilting up with the stunt performer as he went up with the cables. Each time we did the sunt, our performer, with the violent action of the flip, would always break off the French Fry hood ornaments with his feet!”<\/p>\n

One of the main threads of the sequel is “modernization\u201d and how today\u2019s new technology is squeezing out humanity and warmth. The film strives to juxtapose the old-world fast-food restaurant of human contact and service against a modern, sleek world of automation.<\/p>\n

Hunter says that contrast was mainly achieved through lighting. \u201cThe \u2018hero\u2019 Good Burger set is a brightly lit space showcasing natural sources of punchy sunlight,\u201d he explains. \u201cWe always used a lot of atmospheric haze to feel the burgers cooking off-camera. With the Mega Good Burger location, it was all about a non-organic, colder, almost inhuman look. More fluorescents and almost exclusively overhead light sources. We even covered the windows with gelled color panels so you couldn\u2019t read the time of day. It’s more of a factory than a cozy burger joint.”<\/p>\n

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Other homage moments include a nighttime rooftop scene that references a heartfelt conversation from the original between Dex and Ed. “We went to great lengths to match the first movie,” Hunter recalls. “We fabricated a similar sign, created a pink light that we could dim up and down, and even have the same 3\/4 back blue moonlight.\u201d<\/figcaption><\/figure>\n

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As noted, paying homage was a priority. Like a nighttime rooftop<\/strong> sequence that directly references a heartfelt moment between Dex and Ed from the original. \u201cIt\u2019s not about slapstick and wackiness on the rooftop \u2013 it\u2019s about camaraderie and friendship,\u201d Hunter explains. \u201cWe went to great lengths to match the first movie. We fabricated a similar sign, created a pink light that we could dim up and down, and even have the same 3\/4 back blue moonlight.\u201d<\/p>\n

The main difference was the technology used. Instead of having Condors with tungsten quartz lights (which Hunter normally prefers), planning for the weight limits, and the time putting a person in the Condor to make changes, the Condors were strategically placed with ARRI SkyPanel 360s that could be controlled via iPad on the ground.<\/p>\n

\u201cThe rooftop location was fun but hard to get our gear onto,\u201d adds McDonnell. \u201cThere was nowhere to put lens cases; every place we wanted to put the camera, a pipe or metal structure was blocking us. We had to get creative and use sliders and Apple boxes for each setup. We also had a weight limitation, so it was limited how many could be on the rooftop during the scene, and asking for gear that was not on the roof added time to an already tight schedule.\u201d<\/p>\n

There\u2019s another crazy homage to the original that caused a few challenges. It\u2019s an outdoor music video dance sequence. \u201cIt was a typical Nickelodeon party scene,\u201d remembers McDonnell. \u201cA choreographed dance number with a musician named Yung Gravy [playing himself] as the DJ. Wide lenses to be up close to the dancers and actors using a crane to get the scope of the scene and handheld to get all up in there with the performance.\u201d<\/p>\n

The scene was shot in a parking lot, with people outside watching. \u201cWe first thought of lighting from Condors with fly swatters and 12-by-12 rags on the ground,\u201d adds Hunter. \u201cBut to give us speed and flexibility, we ended up with 18K\u2019s on roller stands and 4-by-4 diffusion frames. Our other challenge was that we could only shoot small wedges of the space at any time to sell the party. We would have loved to dolly the camera and pan around more freely. But location issues, extras, and other logistical restrictions didn\u2019t allow that freedom.\u201d<\/p>\n

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\"\"
With “modernization” being a visual theme of the sequel, Hunter says the rival “Mega Good Burger” was all about a “non-organic, colder, almost inhuman look. More fluorescents and almost exclusively overhead light sources. We even covered the windows with gelled color panels so you couldn\u2019t read the time of day.”<\/figcaption><\/figure>\n

 <\/p>\n

While there were many fun moments in the production<\/strong>, for Hunter, one scene that is pure slapstick fun stood out. It\u2019s a traditional \u201cin peril\u201d moment where Mia (Kamaia Fairburn) is trapped on a conveyor belt (think Batman<\/em>). However, due to last-minute technical difficulties with the practical effects, the entire sequence had to be re-staged and the camera team had to coordinate with VFX to make the \u201cgags\u201d work. Hunter recalls being \u201cconcerned whether our hastily changed plans would maintain the level of suspense that the scene needed, so at the last moment, I got the idea to use the color red to signify danger and blue to signify safety. That’s one of the great things about LEDs. You can change colors in the blink of an eye.\u201d<\/p>\n

McDonnell says the most fun he had on the project \u201cwas trying to figure out how to do cool shots quickly. Sometimes, when we would start setting up the dolly track, I could see concern with the AD and director that it would take too long [which it never did]. However, I saw this as an opportunity to show them how to hard-mount the Steadicam on the dolly and roll freely without setting up a track. We could go from low to high mode easily, allowing us to do interesting shots, faster. I had a fantastic dolly grip, Rob Kelly, and first AC in Zack Shultz. Sometimes, due to the tight schedule, we just had to wing it.\u201d<\/p>\n

Like a scene with a car doing multiple doughnuts on a playfield, where McDonnell says he worked closely with the stunt coordinator to ensure his camera distance was safe. \u201cHonestly,\u201d he laughs, \u201cI think the most dangerous stuff on set was the \u2018Ed Sauce\u2019 that got sprayed all over the place. Our B-Camera 1st<\/sup> AC, Jamie Fitzpatrick, absolutely hates condiments, and there was a scene where the Food Dude gets turbo-sprayed with a legendary amount of Thousand Island dressing. Jamie’s reaction was priceless.\u201d<\/p>\n

As Shultz adds about the condiments mayhem: \u201cWe covered the cameras as best as we could and put clear filters in front of the lenses. The actors got so hosed down the sauce went everywhere, and our cameras and operators got sprayed too. Thank goodness we covered everything, and our great second ACs, Tom Bellotti and John McCarthy, did the hard work of cleaning our gear up after. There was no way Jamie and I could do it without throwing up.\u201d<\/p>\n

The AC also cites a technical gag involving a Counter-Zoom-Dolly move or what Hunter called a Vertigo shot. \u201cThis is when you push in with a dolly as you zoom out on the lens,\u201d Shultz continues. \u201cWe used this shot right before Ed hits Dex in the Burger Mobile. We probably pushed in on the dolly around 30-40 feet as we widened from 500mm to 50mm to keep the same frame around eight feet from Dex. There wasn\u2019t time to lay down marks and have them called out to do such a hard-focus pull. So, the Preston Light Ranger became a lifesaver. I have been using it for many years, and often I use it like a Cine Tape, or I don’t use it at all and certainly never trust the autofocus function. But with only one rehearsal for that scene, I thought this was what the Light Ranger autofocus was designed for. And it worked out great.\u201d<\/p>\n

 <\/p>\n

\"\"
Hunter insists that Good Burger 2<\/em> \u201cabsolutely had to be shot from the \u2018inside looking out\u2019 with wide lens close-ups, cheated eyelines, and the whole shebang. If we had gone about it the more traditional way, I think the movie would\u2019ve ended up looking like any run-of-the-mill single-camera TV show, which would be the greatest crime we could\u2019ve committed against the original film.” \u00a0Hunter (L) with Director\/Executive Producer Philip Traill (R)<\/figcaption><\/figure>\n

 <\/p>\n

\"\"
Hunter says “The pressure to move faster and make things easier was a constant source of anxiety that everyone on the crew had to contend with,\u201d he concludes. \u201cBut at the end of the day, you can either \u2018shoot a schedule\u2019 or \u2018shoot a movie.\u2019 And this crew refused to compromise. We shot the movie as intended, and I couldn\u2019t be prouder.\u201d<\/figcaption><\/figure>\n

 <\/p>\n

Good Burger 2<\/em> – Local 600 Crew<\/strong><\/span><\/p>\n

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

A-Camera\/Steadicam Operator – BJ McDonnell<\/p>\n

A-Camera 1st AC – Zach Shultz<\/p>\n

A-Camera 2nd AC – Tom Bellotti<\/div>\n
<\/div>\n
B-Camera Opeartor – Hasan Abdul-Wahid<\/div>\n
<\/div>\n
B-Camera 1st AC- Jamie Fitzpatrick<\/div>\n
<\/div>\n
B -Camera 2nd AC – John McCarthy<\/div>\n
<\/div>\n
Digital Loader – Mattie Hamer<\/div>\n
<\/div>\n
Utility – Keenan Kimetto<\/div>\n
<\/div>\n
Unit Stills – Vanessa Clifton<\/div>\n

 <\/p>\n

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

Director of Photography Jay Hunter, and his Guild camera team, shoot a \u201ccomedy with everything on it,\u201d for a sequel to the whacky 1990\u2019s feature, Good Burger by Pauline Rogers \/ Photos by Vanessa Clifton\/Nickelodeon\/Paramount+   \u201cI\u2019ve never shot a sequel for a beloved film before, and we took that task very seriously,\u201d relates Guild Director of Photography Jay Hunter about Good Burger 2. The film is a follow-up to the insanely wacky 1997 feature, based on a Nickelodeon comedy […]<\/p>\n","protected":false},"author":2,"featured_media":12929,"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":[10],"tags":[],"class_list":["post-12928","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-web-exclusive"],"acf":[],"yoast_head":"\nOutside the Bun - 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\/outside-the-bun\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Outside the Bun - ICG Magazine\" \/>\n<meta property=\"og:description\" content=\"Director of Photography Jay Hunter, and his Guild camera team, shoot a \u201ccomedy with everything on it,\u201d for a sequel to the whacky 1990\u2019s feature, Good Burger by Pauline Rogers \/ Photos by Vanessa Clifton\/Nickelodeon\/Paramount+   \u201cI\u2019ve never shot a sequel for a beloved film before, and we took that task very seriously,\u201d relates Guild Director of Photography Jay Hunter about Good Burger 2. 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