{"id":13755,"date":"2025-06-17T14:47:37","date_gmt":"2025-06-17T21:47:37","guid":{"rendered":"https:\/\/www.icgmagazine.com\/web\/?p=13755"},"modified":"2025-06-17T15:45:27","modified_gmt":"2025-06-17T22:45:27","slug":"spring-breakers","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/spring-breakers\/","title":{"rendered":"Spring Breakers"},"content":{"rendered":"

Netflix\u2019s episodic reimagining of the 1981 feature, The Four Seasons<\/em>, is packed with comedy talent \u2013 and plenty of expertise behind the camera.<\/p>\n

by Jon Silberg \/ Photos by Jon Pack and Francisco Roman \/ Framegrabs Courtesy of Netflix<\/span><\/span><\/p>\n

 <\/p>\n

\n

In 1981, Alan Alda, at the height of his M*A*S*H<\/em> star power<\/strong>, wrote and directed his debut feature film, The Four Seasons<\/em> \u2013 an adult dramedy that examines the relationships of four couples vacationing together over each season of the year. The new eight-episode Netflix series from creators Tina Fey (30 Rock<\/em>), Lang Fisher (Never Have I Ever<\/em>), and Tracey Wigfield (The Mindy Project<\/em>) emulates and expands on the film, which Fey has named a childhood favorite. The series stars Fey, Will Forte, Steve Carell, Colman Domingo, and Marco Calvani. Kerri Kenney-Silver and Erika Henningsen round out the cast.<\/p>\n

Local 600 Director of Photography Tim Orr (Fleishman Is in Trouble<\/em>, Pineapple Express<\/em>), who shot all eight episodes, landed the job because Fey and company felt he could bring a sense of visual refinement that would also complement the characters and situations. \u201cWe wanted the cinematography to play a larger part than it has on shows we\u2019d worked on before,\u201d describes Fisher, whose experience is in sitcoms. \u201cWe\u2019re adapting a movie that has a lot of beautiful scenery in addition to the comedy and the drama. We felt Tim could bring an elevated, polished cinematic quality to this show.\u201d<\/p>\n

As Orr recounts: \u201cWe started filming in the fall in upstate New York, and one night we saw the Northern Lights. It wasn\u2019t common, and it was very special, and I think that inspired the actors to take in the surroundings and make them part of their performances. Whenever you\u2019re on a stage, there\u2019s artifice. That\u2019s why, when I do shoot on stages, I try not to pull walls unless it\u2019s necessary. I want to treat [the stage] as a practical location. But ultimately, nothing is better than the real thing.\u201d<\/p>\n

Each of the four seasons is covered by two episodes of the series, with Production taking advantage of each season in New York-area locations. \u201cWe wanted to make this as cinematic as possible,\u201d Orr continues. \u201cClassy, elegant, and timeless.\u201d To that end, Orr employed ARRI\u2019s Mini LF camera paired with Panavision Panaspeeds, detuned to Orr\u2019s specs by Panavision New York\u2019s Senior Optics Specialist Jeff Marzigliano. Orr also made extensive use of Schneider Classic Soft filters in various grades, depending on the focal length, to further enhance the elegant look.<\/p>\n

Generally shooting at a T-2 or 2.8 \u2013 on the wide side for lenses that cover the LF image area \u2013 Orr\u2019s goal was to limit the depth of the field. The series was mainly a two-camera affair designed to offer the comedic talent room for improvisation. Elaborate sequences, such as the group of vacationers out on a boat in the ocean, playing ultimate Frisbee, or a large wedding vow renewal ceremony, sometimes call for a third camera. Some scenes were covered with a single camera, particularly when that was all the available space allowed for.<\/p>\n

 <\/p>\n

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Co-creator Lang Fisher says, “We wanted the cinematography to play a larger part than [the previous sitcoms] we’d done. We’re adapting a movie that has a lot of beautiful scenery, in addition to the comedy and the drama. We felt [Director of Photography] Tim [Orr] could bring an elevated and polished cinematic quality.\u201d \/ Photo by Jon Pack<\/figcaption><\/figure>\n

The location that sets the tone for the series, as well as<\/strong> Orr\u2019s approach to the visuals, involves a large house on a lake with a beautifully manicured backyard. The sequence that sets the dramatic action in motion involves a surprise event, in which one of the four couples is supposed to renew their wedding vows on the lawn by the lake.<\/p>\n

Upon scouting, Orr recalls that \u201cthe location checked all the boxes. But the ceremony needed to be out on the front lawn. Based on the sun\u2019s positioning with the house, the lawn would be in full shadow for the first five hours of each day. Then, as the sun rose higher in the sky, the shade would quickly recede. \u201cI couldn\u2019t just come in with an overhead silk to soften the sun and make everything visually palatable,\u201d Orr adds. \u201cThe area was just too big.\u201d<\/p>\n

The solution was to use three cameras, with the thinking being that the camera team would get the wide coverage first, and then tighter shots later in the day to better control the lighting. \u201cIt\u2019s one of those locations that can become a nightmare for cinematographers,\u201d Orr continues. \u201cSo, we had to come up with a specific order of shooting to maximize the shadows. The schedule was tight enough that we could not schedule this over two mornings. This was a perfect example of where planning and teamwork come into play. Every location on every scout ever, I always want to know where the sun is and when, and I try to work with the AD to schedule the right things at the right time. That and the help of a very experienced crew and sun-tracking apps were the only way to pull it off.\u201d<\/p>\n

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Orr says the lake location checked all the boxes, “but the [renewed vows] ceremony had to be on the front lawn, which was in full shadow for the first five hours of each day. Then, as the sun rose higher in the sky, the shade would quickly recede. I couldn’t just come in with an overhead silk to soften the sun and make everything visually palatable.\u201d \/ Photo by Jon Pack<\/figcaption><\/figure>\n

Chief Lighting Technician David Skutch notes that<\/strong> \u201cthe interior locations were great for the story, but tough logistically. The Lake House, both winter ski houses, the parents\u2019 weekend lodge, the funeral parlor, and other locations required multiple box-truck loads in and out for riggers and shooters. Grip and electric semi-trailers functioned as warehouses at distant base camps. But these inaccessible locations still required a full complement of big guns, as well as LED\u2019s. As we needed to keep on-set gear to a minimum, we lit day interiors with 18 Ks and other HMIs, pushed in from the outside through magic cloth frames or bounced. Day and night interiors were wrapped around, outside the windows, by ARRI S360s, also through heavy diffusion. From that base approach, we shaped the individual shots on the interior with Vortex 8s and 4s, booked or direct through diffusion T-bones and frames, well off-camera, and then small LEDs in close to clean up.\u201d<\/p>\n

For shots designed to see inside and out of windows, Orr and Skutch worked closely to bring the light level in the room up to something close enough to hold the exterior detail. They used Kino Flo FreeStyle Air Max RGB LED Light Panels \u2013 rigid mats with RGB capabilities.\u00a0\u201cIt was about having a balance where the outside was always brighter than inside, but not to the point where you lose definition out the windows,\u201d Orr shares. \u201cFor the scenes with the lake, it was very important to see the lake and some definition in the trees. We\u2019d let the outside go about two or three stops over, as you\u2019re always trying to hold onto information in the \u2018negative.\u2019 But you don\u2019t want to bring the exposure into \u2018perfect balance\u2019 because that always feels a little false.\u201d<\/p>\n

Further units inside included Titan or Helios tubes, and either a light sock or a white pool noodle over the tubes to soften them. \u201cThey were great because there are times where you have no space, and you can sometimes just lean them against the wall,\u201d Orr explains. \u201cYou\u2019re always trying to keep the room as unencumbered as possible. In a lot of these scenes, there\u2019s quite a bit of movement from the characters, so the smaller, soft lighting became the main tool.\u201d They also made use of practicals for accents, and strong color contrast for interior scenes. The cameras were balanced for 5600K, allowing the practicals to read warm.<\/p>\n

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Chief Lighting Technician David Skutch says \u201cThe interior locations were great for the story, but tough logistically. The Lake House, both winter ski houses, the parents\u2019 weekend lodge, the funeral parlor, and other locations required multiple box truck loads in and out for riggers and shooters. Grip and electric semi-trailers functioned as warehouses at distant base camps.”<\/figcaption><\/figure>\n

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A-Camera\/Steadicam Operator Philip J. Martinez, SOC<\/strong> (Dope Thief<\/em>, Prodigal Son<\/em>), had plenty of experience shooting comedy while operating on classic SNL<\/em> shorts, including the live-action version of the \u201cAmbiguously Gay Duo\u201d with Jon Hamm and Steve Carell as well as several other viral hits with a variety of performers from Andy Samberg to Paul McCartney. Martinez was used to working handheld or on Steadicam and being prepared to adapt to the spontaneity inherent in comedic performers. As there were many scenes requiring small, specific moves best achieved by laying down dance floor and shooting on a dolly, the tight locations didn\u2019t offer room for such a setup, so Steadicam became an option.<\/p>\n

\u201cThis was the first time I\u2019d worked with Phil,\u201d Orr remembers. \u201cAnd I usually go into things with the idea that there\u2019s a right tool for each shot, so I was initially resistant to using Steadicam.\u201d<\/p>\n

\u201cFrom my background, where I started before episodic television,\u201d Martinez adds, \u201cI\u2019m used to being in the rig all day, and I enjoy that style of work. The Steadicam is my go-to tool and where I feel the most secure.\u201d<\/p>\n

Sure enough, after a few successful setups, Orr was convinced the Steadicam \u2013 at least in Martinez\u2019s hands \u2013 would accomplish the subtle movement the scenes called for. \u201cI don\u2019t think all Steadicam operators are completely suited to something like a slow push-in,\u201d Orr offers. \u201cBut Phil did a fabulous, fabulous job that felt unnoticeable.\u201d<\/p>\n

Martinez says, \u201cThe stillness is always the trickiest part. It\u2019s as still as you can be when you stop. Hopefully, I did right by Tim and everybody else on the project.\u201d And he adds that he learned something else operating on SNL<\/em> digital shorts: \u201cI saw that even after we call cut, to just keep rolling briefly, because in comedy sometimes there\u2019s that release the actors have right after a take, and those can make great moments.\u201d<\/p>\n

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Given the shallow depth of field and an ensemble of talent, 1st AC Waris Supanpong had a heavy lift. “These are great comedic actors,” he shares. “With the camera always moving, my job is to anticipate where they\u2019re going to be and make sure when someone speaks they\u2019re in focus,\u201d \/ Photo by Francisco Roman<\/figcaption><\/figure>\n

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Given the shallow depth of field and an ensemble of comedic talent,<\/strong> 1st AC Waris Supanpong had a heavy lift. As he explains: \u201cSometimes you have no idea who\u2019s about to speak. As these are great comedic actors, they\u2019re just going to say something that comes to them, and they have to be in focus! The camera was always moving, and my job is to anticipate where they\u2019re going to be and make sure when someone speaks, they\u2019re in focus,\u201d says Supanpong, who likes to use Preston systems for focusing and his own SmallHD 1303 13-inch monitor as a reference.<\/p>\n

Nowhere was maintaining focus more challenging than in scenes shot in Puerto Rico with the couples on boats. Much of it, Orr recalls, \u201cwas shot handheld from inside the boat, \u00e0 la the original Jaws<\/em>.\u201d Martinez elaborates on the lessons learned from the Spielberg classic: \u201cIf you lock the camera to a boat, then you see the whole horizon shaking behind you. If you use the Steadicam, the camera\u2019s going to float independently, which just feels weird. For me, the way to do it was a very stable handheld resting your elbows on things.\u201d Martinez\u2019s rig of choice was the Daufenbach Camera Spider Grips, \u201cwith the handles right up on my matte box. I just have a shoulder pad, and we keep a nice, small, tight camera. I\u2019m an eyepiece operator. I want as little around me as possible because I like the freedom to move.\u201d<\/p>\n

 <\/p>\n

\"\"
On lessons learned for shooting on water from \u00a0Jaws<\/em>, Martinez notes, \u201cIf you lock the camera to a boat, then you see the whole horizon shaking behind you. If you use the Steadicam, the camera’s going to float independently, which just feels weird. For me, the way to do it was a very stable handheld [camera] resting your elbows on things.\u201d \/ Photo by Francisco Roman<\/figcaption><\/figure>\n

Before principal photography, Orr worked with Colorist John Crowley<\/strong> at PostWorks NY to create show LUTs for on-set and dailies. Orr says a show LUT is like his \u201cfilm stock\u201d and he tends to create one, or just a few, with the overall characteristics he\u2019s looking for and subsequently light and expose for those attributes, rather than building many specific looks up front. During production, DIT Paul Schilens would ensure that the color pipeline was correct on set as well as when material was sent to Crowley for the final color.<\/p>\n

\u201cWe were thinking in terms of a clean, natural, neutral look,\u201d Crowley explains. \u201cWe wanted the seasons to have a nice, clean, rich feel. When we needed to warm up the highlights, we did that in [the final color] session.\u201d The LUTs, Crowley adds, brought global feelings of warmth and saturation in fall and spring, and slightly less richness for summer and winter. The LUT for the spring sections was rich in contrast but had somewhat soft blacks. \u201cFor fall,\u201d Orr adds, \u201cwe wanted to punctuate the foliage, and we leaned in a bit warmer. For summer, we had a bit of a tropical look, leaning into warm highlights.\u201d<\/p>\n

When it came time for the final color, Crowley, a dedicated FilmLight Baselight user, worked with Orr to fine-tune the imagery. \u201cOn one of the spring episodes,\u201d Crowley adds, \u201cwe had to make sure the trees and the grass and the flowers look fresh, new and clean.\u201d As Orr notes, \u201cWe\u2019d shot late summer for spring, so a lot of the greens came out dull and we were looking to make them the vibrant limey green of young leaves in spring.\u201d<\/p>\n

Crowley made use of a hue-shift tool within Baselight to augment certain colors. \u201cIt worked well when we were taking dead grass shot in summer and making it look vibrant and rich,\u201d he explains. \u201cWe worked to ensure a lot of the foliage was orange and yellow and that it looked presentable for fall.\u201d<\/p>\n

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\"\"
Colorist John Crowley says he used Base Grade frequently “to manage the changing light for a lot of the exteriors,” referring to setups over which Orr’s crew had limited ability to control through lighting because they were wide shots covering large exterior areas. \/ Photo by Jon Pack<\/figcaption><\/figure>\n

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For winter, Crowley says, \u201cWe were pushing cooler tones, but we always<\/strong> had to make sure skin tones still looked natural and interiors were still warm and inviting. For that, I used more traditional tools; X-Grade wouldn\u2019t be appropriate for that.\u201d<\/p>\n

Crowley also made significant use of the Base Grade tool. \u201cIf you\u2019re controlling contrast,\u201d he offers, \u201cit gives you a smoother roll-off on the low end than the high end,\u201d which helps a colorist make contrast corrections, even significant shifts, appear more natural. \u201cI used Base Grade frequently to manage the changing light for a lot of the exteriors,\u201d he says, referring to setups that Orr\u2019s crew had limited ability to control through lighting because they were wide shots covering large exterior areas.<\/p>\n

\u201cThere was one scene where a storm is supposed to be rolling in,\u201d Crowley continues, \u201cbut they had to shoot it on a very bright, sunny day. Achieving that look was about taking this direct, hard sunlight and transforming it in Baselight into the diffuse light of an impending storm. So we took the approach of knocking down those highlights and of cooling everything off enough to look like it\u2019s dark but still daytime.\u201d<\/p>\n

The Four Seasons <\/em>premiered to some 11.9 million viewers in its first four days, making it Netflix\u2019s most-watched title of that week, and it continues to sit in their top 10. Wigfield says the intent was always to provide audiences with something amusing and not too heavy, but also scenes that resonate. \u201cThere are some almost slapstick moments, but down deep, the things that the couples are going through feel grown up,\u201d she shares. \u201cThe show has many different layers.\u201d As Orr concludes, \u201cI feel like we accomplished the goal of making it feel relatable. It\u2019s one of those shows where you can just let it wash over you. There\u2019s this nameless sort of thing that makes you feel good, and makes the characters feel like real people that you either knew or would like to know.\u201d<\/p>\n

 <\/p>\n

\"\"
Wigfield says the intent was always to provide audiences with something amusing and not too heavy, but also scenes that resonate. \u201cThere are some almost slapstick moments, but down deep, the things that the couples are going through feel grown up.” ‘ Courtesy of Netflix<\/figcaption><\/figure>\n

 <\/p>\n

Local 600 Crew \u2013 The Four Seasons<\/em><\/strong><\/span><\/p>\n

\n

Director of Photography: Tim Orr<\/p>\n

A-Camera\/Steadicam Operator: Philip J. Martinez, SOC<\/p>\n

A-Camera 1st AC: Waris Supanpong<\/p>\n

A Camera 2nd AC: Randy Lee Schwartz<\/p>\n

B-Camera Operator: Arthur Africano<\/p>\n

B-Camera 1st AC: Rebecca Heller<\/p>\n

B-Camera 2nd AC: Nathalie Rodriguez<\/p>\n

Digital Imaging Technician: Paul Schilens<\/p>\n

Loaders: Margaret Hughes, Daniel Sanabria<\/p>\n

Unit Stills Photographers: Jon Pack, Francisco Roman<\/p>\n<\/div>\n

<\/div>\n

 <\/p>\n

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

Netflix\u2019s episodic reimagining of the 1981 feature, The Four Seasons, is packed with comedy talent \u2013 and plenty of expertise behind the camera. by Jon Silberg \/ Photos by Jon Pack and Francisco Roman \/ Framegrabs Courtesy of Netflix   In 1981, Alan Alda, at the height of his M*A*S*H star power, wrote and directed his debut feature film, The Four Seasons \u2013 an adult dramedy that examines the relationships of four couples vacationing together over each season of the […]<\/p>\n","protected":false},"author":2,"featured_media":13756,"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-13755","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-web-exclusive"],"acf":[],"yoast_head":"\nSpring Breakers - 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\/spring-breakers\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Spring Breakers - ICG Magazine\" \/>\n<meta property=\"og:description\" content=\"Netflix\u2019s episodic reimagining of the 1981 feature, The Four Seasons, is packed with comedy talent \u2013 and plenty of expertise behind the camera. by Jon Silberg \/ Photos by Jon Pack and Francisco Roman \/ Framegrabs Courtesy of Netflix   In 1981, Alan Alda, at the height of his M*A*S*H star power, wrote and directed his debut feature film, The Four Seasons \u2013 an adult dramedy that examines the relationships of four couples vacationing together over each season of the […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.icgmagazine.com\/web\/spring-breakers\/\" \/>\n<meta property=\"og:site_name\" content=\"ICG Magazine\" \/>\n<meta property=\"article:publisher\" content=\"http:\/\/www.facebook.com\/theicgmag\" \/>\n<meta property=\"article:published_time\" content=\"2025-06-17T21:47:37+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2025-06-17T22:45:27+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2025\/06\/FOURSEASONS_103_241213_FR_00063_R.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1400\" \/>\n\t<meta property=\"og:image:height\" content=\"933\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"editor\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@DGeffner\" \/>\n<meta name=\"twitter:site\" content=\"@theicgmag\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"editor\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"15 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.icgmagazine.com\/web\/spring-breakers\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/spring-breakers\/\"},\"author\":{\"name\":\"editor\",\"@id\":\"https:\/\/www.icgmagazine.com\/web\/#\/schema\/person\/172e4f67e262cc8d0f5b2e21026a77c8\"},\"headline\":\"Spring Breakers\",\"datePublished\":\"2025-06-17T21:47:37+00:00\",\"dateModified\":\"2025-06-17T22:45:27+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/spring-breakers\/\"},\"wordCount\":3003,\"publisher\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/spring-breakers\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2025\/06\/FOURSEASONS_103_241213_FR_00063_R.jpg\",\"articleSection\":[\"Web Exclusives\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.icgmagazine.com\/web\/spring-breakers\/\",\"url\":\"https:\/\/www.icgmagazine.com\/web\/spring-breakers\/\",\"name\":\"Spring Breakers - 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