{"id":1595,"date":"2011-09-01T17:04:08","date_gmt":"2011-09-02T01:04:08","guid":{"rendered":"http:\/\/www.icgmagazine.com\/wordpress\/?p=1595"},"modified":"2014-05-29T21:37:21","modified_gmt":"2014-05-29T21:37:21","slug":"tale-chasers","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/tale-chasers\/","title":{"rendered":"Chasing Tale"},"content":{"rendered":"

Kramer Morgenthau, ASC, gets all spiffed up for the new Chicago-shot pilot, The Playboy Club<\/em>, from Imagine\/NBC<\/strong><\/p>\n

\u00a0<\/strong>In February 1960, magazine publisher Hugh Hefner opened the first Playboy Club in downtown Chicago. Sometimes referred to as \u201cDisneyland for adults,\u201d the clubs featured a hip blend of cocktails, entertainment and, of course, the eponymous Playboy Bunnies, who were stuffed into brightly colored one-piece costumes that featured a white fluffy tail, high heels, collar, bow tie and cuffs, all framed by those magnificent 1960\u2019s beehive hairstyles and trademarked bunny ears. Designed as the ultimate male fantasy world, the clubs somehow eluded becoming a backdrop for a TV series, until now.<\/p>\n

The Playboy Club<\/em>, a Fox Television\/Imagine Television series on NBC, is not a historical account of Hefner\u2019s famous party spot so much as a fractured fairy tale of all the club represented in American culture. It features hotshot attorney Nick Dalton (Eddie Cibrian), who\u2019s tight with Chicago\u2019s power brokers, including the mob. Nick comes to the aid of Maureen (Amber Heard), the stunning and innocent new bunny who accidentally kills the leader of the Bianchi crime family. Executive producer\/writer Chad Hodge (Tru Calling<\/em>) says the genesis for the series had been Imagine and Playboy\u2019s long partnership trying to develop a biopic on Hefner\u2019s life.<\/p>\n

\u201cI had been doing a number of historical projects over the last few years, so they asked if I wanted to do a series about the original Chicago Playboy Club,\u201d Hodge explains. \u201cThey gave me Bunnies, Playboy Club, early \u201860s and I took it from there.<\/p>\n

Hodge says his starting point for recreating this fantasy playground turned on an 80\/20 balance. \u201cIn other words, let\u2019s look at the research, what the club looked like, the make-up, hairstyles, let\u2019s know the rules, then pop it by 20 percent to give it that patina, that shine. That\u2019s because when I spoke with the former Bunnies and with Hef, who lived it, they had this twinkle in their eyes, saying, \u2018Oh, you should have been there\u2019.\u201d<\/p>\n

\"\"<\/p>\n

Hodge chose director Alan Taylor to helm the pilot episode<\/strong>. He\u2019d proven his skill with the same time period via a 2008 Emmy and a DGA Award for directing the pilot episode of Mad Men<\/em>. For his DP, Taylor turned to Kramer Morgenthau, ASC. The pair met on Boardwalk Empire<\/em>, though they had not worked together on an episode.<\/p>\n

\u201cI worked with Alan\u2019s wife, Nicki Ledermann (an Emmy-nominated and 2004 Hollywood Makeup Artist and Hair Stylist Guild Award winner for her work on Sex and the City<\/em>) when I did Curtis Hanson\u2019s Too Big to Fail<\/em>,\u201d Morgenthau remembers.<\/p>\n

\u201cAnd Nicki was just raving about the DP,\u201d Taylor picks up. \u201cShe said he was fast, that everything looked great and that he was fun to work with. So when I started working on The<\/em> Playboy Club<\/em> pilot, Kramer was the first guy I thought of.\u201d<\/p>\n

The two men dissected their visual approach to shooting the pilot during what Morgenthau calls a \u201cbrisk\u201d preproduction period.<\/p>\n

\u201cWe researched the Playboy archives,\u201d Morgenthau describes, \u201cand studied movies appropriate for the story \u2013\u00a0La Dolce Vita<\/em>, which had that living in the high life sensuality and same kind of leisure class; Goodfellas<\/em> for its proactive and exploratory use of the camera in a nightclub. We have a lot of nightclub scenes in The Playboy Club<\/em> along with some great musical numbers, such as a recreated Ike and Tina Turner with the Ikettes.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 On selecting the ARRI ALEXA to shoot the pilot, Morgenthau says, I found it to have at least a stop or tow more detail in the highlights. The widest dynamic range of any of the digital cameras I\u2019ve worked with. It\u2019s physically well constructed, has an ability to interface with other accessories, and very simple to use. It\u2019s just a well thought out camera and captures very pleasing skin tones, nice color rendition and incredible resolution.\u201d<\/p>\n

In addition, the ALEXA combined with Truelight on-set workflow allowed Morgenthau and Chicago-based digital imaging technician Tom Zimmerman to create detailed instructions for the colorist on the dailies.<\/p>\n

\u201cThe ALEXA is capable of recording on SxS cards\u00a0using the Apple ProRes codec.\u00a0That can\u00a0then be imported\u00a0into Final Cut Pro or transcoded for other uses,\u201d Zimmerman states. \u201cSo we\u2019re recording in\u00a0Apple ProRes 4:4:4\u00a0Colorspace, but it\u2019s also outputting in Log C. It has a logarithmic response curve similar to film. \u00a0When you look at the log signal on a monitor the blacks are raised up and it looks kind of washed out and mushy. However, because of the range of the signal,\u00a0this camera captures all the color information, and the digital colorist can go in and drop the blacks a little bit,\u00a0saturate\u00a0the color a bit,\u00a0open up the highlights a bit. All of the information is there for them to process.\u201d<\/p>\n

\"\"<\/p>\n

The DIT adds that with Truelight, and an MCS\u00a0Spectrum trackball command station, he could take the\u00a0Log C\u00a0output and manipulate the signal to Morgenthau\u2019s specifications.<\/p>\n

\u201cWe send that to the editor and the dailies colorist [at Level 3 Post],\u201d Zimmerman continues. \u201cHe doesn\u2019t have to be in the color bay because he already has an idea what he wants it to look like. We also took screen captures, and Kramer would put them into his computer and, using Lightroom, do a little manipulation of the stills and send that to the editor. That provides us with a base knowledge. For instance, when we\u2019re shooting Amber Heard, we can say, OK, this is what we\u2019ve done before with her.\u201d<\/p>\n

\u201cIt was almost like having a little DI suite on the set,\u201d Morgenthau continues. \u201cYou\u2019ve got the three track balls \u2013lift, gamma, and gain. You can create a CDL look-up table that is quite precise to what you want.\u201d<\/p>\n

Workflow benefits aside, the show encountered a number of challenges<\/strong>, not the least of which was finding a suitable location to stand in for the long-since demolished Playboy Club. Production designer Scott Murphy scoured Chicago for a building that had been trapped in time. Eventually, he suggested using the former airline terminal at Meigs Field, a small Chicago airfield closed since 9\/11.<\/p>\n

\u201cOne of the things that stood out during my research was that the original club had multiple levels, a split level arrangement with the different levels exposed to one another,\u201d Murphy says. \u201cThere was a series of interconnecting open staircases, so you could be at one place and look across and see people ascending up to what was called the Penthouse level, or be in the middle and look down and see what they called the Playmate Bar, or look up half a level and see an area that they called the Living Room.<\/p>\n

\u201cMeigs Field had these open modern staircases and exposed multiple levels,\u201d he continues. \u201cThe middle is essentially a box that had a mezzanine running through it and right in the middle of the mezzanine were these crisscrossing stairways. We took the bones of that building and transformed it into the Chicago Playboy Club.\u201d<\/p>\n

As for lens choices, Morgenthau opted to use Cooke S4 lenses rather than Master Primes, which he says would have offered \u201ctoo much\u201d resolution. \u201cWe wanted something a little sweeter and softer since this is a period piece and also a beauty piece,\u201d he reflects. \u201cThe ALEXA is so sensitive to light I didn\u2019t need the speed of the Master Primes; shooting at a T2 was as wide as I\u2019d need and most of the time I shot at a T2.8.\u201d<\/p>\n

Morgenthau brought along L.A.-based A-Camera operator Jacques Jouffret, and then reassembled many of the Chicago-based Guild members he\u2019d worked with on The Express<\/em>, the feature biopic of football hero Ernie Davis. Having a team already proven in the field together was key for the tight 13-day pilot shoot.<\/p>\n

\"\"<\/p>\n

\u201cI like to look through the eyepiece as with a film camera,\u201d Jouffret describes by way of his working process, \u201cand what\u2019s wonderful about the ALEXA is that it does not require as much power as is needed with the Genesis or the F35. So you can go hand held, with one or two batteries in the pack.\u201d<\/p>\n

Adds Chicago-based A-Camera 1st<\/sup> AC Peter Kuttner: \u201cWith Jacques operating through the eyepiece, I have a free monitor to use on the camera. It\u2019s not so much that I am staying close to the camera, it\u2019s that I am staying close to the operator. And if we don\u2019t actually speak to one another during the shot, we\u2019ll sense each other by our physical moves.\u201d<\/p>\n

Kuttner says he used a single channel Preston FI+Z (focus, iris, zZoom) remote camera control system. \u201cBecause we used a lot of practical locations, remote focus is a good tool because you can be small. We did lots of dolly moves through small hallways, so it\u2019s easier to be behind the camera in a hallway.\u201d<\/p>\n

Kramer and gaffer Mark Castelaz designed stage lighting<\/strong> for the musical numbers, which the DP says they wanted to keep appropriate for the period.<\/p>\n

\u201cI studied photography from Playboy\u2019s <\/em>archives and other photographers of that period,\u201d Morgenthau says. \u201cWe used a lot of pinks, purples, magentas and blues to create this m\u00e9lange of color \u2013 a larger than life type of experience, but still reality based. We didn\u2019t shoot it theatrical or fantastical.\u00a0Alan wanted to keep it strongly grounded in reality. Mostly single sources appropriate for the spaces we were in. Certainly the style of the Playboy Club had some of the elegance and modernism of the 1950s, with a touch of the outlandishness of the \u201860s just around the corner. Either way, I used much more color than I normally would for a typical club scene.\u201d<\/p>\n

\u201cI studied photography from [Playboy<\/em> Magazine] and the publicity photos from that period,\u201d Morgenthau says. \u201cWe used a lot of pinks, purples, magentas and blues to create this m\u00e9lange of color \u2013 a larger than life type of experience, but still reality-based. We didn\u2019t shoot it fantastical. Mostly single sources appropriate for the space. Certainly the style of the Playboy Club had a little more elegance and modernism than the 1950s with a touch of the outlandishness of the \u201860s just around the corner. Either way, I used much more color than I normally would for a typical music scene.\u201d<\/p>\n

Chicago-based B-Camera Operator Joe \u201cJody\u201d Williams praises the DP\u2019s approach. \u201cKramer didn\u2019t spend a lot of time trying to figure out angles of light. He knew where he wanted it to be, set it and we were off. I really liked that. He just had a knack for where to place the lights. And, still, he was very open to listening to someone who might have an idea. It was a pleasure working with him.\u201d<\/p>\n

Establishing the Playboy Club exterior was another key visual. The Chicago Athletic Club on Madison Avenue stood in for the original fa\u00e7ade. Based on period photographs, the entrance was constructed by Murphy\u2019s art department and lit to provide a feeling of anticipation and excitement for the risqu\u00e9 world that awaits all who come inside.<\/p>\n

\"\"<\/p>\n

\u201cThe lighting for the street consisted of a 12×12 cube of light grid diffusion,\u201d Castlelaz explains. \u201cKey grip Art Bartels and his crew built the frame and we put four 6K space lights inside of this cube, put some quarter blue on and placed it in the air with a Condor to give the street an ambient light. Then we brought in some period streetlights. My rigging crew took off the existing street light heads, put on the period pieces on them and rigged in some 1,000-watt bulbs that also lit the street. Inside the canopy of the club, we put six 4×4 Kinos in the ceiling and another light grid underneath for an ambient glow. In photos of the entrance, you could see architectural lights uplighting the canopy above it. We mimicked that with Par Cans and a color gel.\u201d<\/p>\n

Given all the time and attention spent recreating the past, one can only wonder what restrictions were placed on the filmmakers by a brand so zealously guarded as Playboy.<\/p>\n

Taylor and Hodge provide some insight: \u201cWe were called in for one meeting with Hefner at the mansion,\u201d Taylor recalls. \u201cHe had three specific points that he was concerned about, and discussed them with Chad at the table. Hefner wasn\u2019t being at all narrow in that the Playboy brand always had to be \u2018celebrated\u2019 and \u2018look great\u2019. He was most concerned with the show being true to the period. He felt it was most important that his career and his work and this club had sort of been a big history of the time, the shifting in the city of Chicago and the launching of the sexual revolution. He wanted that portrayed accurately, and I came away impressed that that was his focus.\u201d<\/p>\n

About the end result, Hodge confides that as a writer, he understands that when he\u2019s writing he isn\u2019t thinking about production limitations, and that the final product rarely ever matches what\u2019s in his head. \u201cHow could it?\u201d he asks. \u201cBut in this case, the show looks almost exactly like what was in my head. Kramer, Alan and Scott made magic.\u201d<\/p>\n

By Ted Elrick \/ photos by Matt Dinerstein<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

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