{"id":5727,"date":"2015-11-20T21:43:08","date_gmt":"2015-11-20T21:43:08","guid":{"rendered":"http:\/\/www.icgmagazine.com\/web\/?p=5727"},"modified":"2021-06-01T16:44:27","modified_gmt":"2021-06-01T23:44:27","slug":"real-fun","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/real-fun\/","title":{"rendered":"Real Fun"},"content":{"rendered":"

Longtime SNL <\/em>DP Alex Buono replicates classic nonfiction of all stripes for the new IFC series, Documentary Now! By<\/em>\u00a0Matt Hurwitz.
\n<\/strong>
\nTwo women, a mother and daughter \u2013 both with the same name \u2013 are introduced in classic cinema v\u00e9rit\u00e9 fashion. The younger, more odd lady is showing us around their rundown house, hoping to pass the duo off as just a step away from high class. Interrupted by her mother, she screams at the old woman, who, we see, is Fred Armisen in a dress! Wait \u2013 isn\u2019t this Grey Gardens<\/em>, the critically acclaimed 1975 documentary from those revered nonfiction masters The Maysles Brothers?<\/p>\n

Not quite. It\u2019s Documentary Now!<\/em>, a seven-part series from IFC Channel that premiered in August, which parodies well-known documentaries of the past \u2013 everything from silent film (\u201cKunuk Uncovered\u201d poking at Robert Flaherty\u2019s Nanook of the North<\/em>) and Errol Morris\u2019s Thin Blue Line<\/em> (\u201cThe Eye Doesn\u2019t Lie\u201d) to such music docs as History of The Eagles<\/em> (\u201cGentle & Soft: The Story of The Blue Jean Committee\u201d), contemporary news series Vice <\/em>(\u201cDRONEZ: The Hunt for El Chingon\u201d) and more \u2013 all with pinpoint authenticity to the referenced sources.<\/p>\n

\u201cIt\u2019s rare when doing comedy to be so concerned with the aesthetic,\u201d explains co-star\/co-creator and Saturday Night Live <\/em>veteran Bill Hader. \u201cUsually, people just want to get the joke and move on.\u201d But Hader says documentary is a format that allows for many different looks. \u201cYou take that aesthetic, and then put comedy in it, and the viewer is caught off guard,\u201d he adds. \u201cThe more serious, the better; that\u2019s part of the joke.\u201d<\/p>\n

Documentary Now! <\/em>was born out of a four-minute SNL<\/em> sketch from 2013 called \u201cThe History of Punk,\u201d a faux Behind the Music<\/em>-style bit about a fictitious British punk band, Ian Rubbish & The Bizarros. The segment was shot by the SNL<\/em> film unit, run by director Rhys Thomas and lensed by Guild DP Alex Buono, who has been with SNL since 1999.<\/p>\n

\u201cAfter the show,\u201d Buono explains, \u201c[Doc Now!<\/em> creators] Bill Hader, Fred Armisen and Seth Meyers all said, \u201cWe should pitch this as a series,\u201d and IFC agreed.<\/p>\n

\"Operator<\/a>
Operator Chris Cuevas shoots Bill Hader during a faux \u201cBlue Jean Committee\u201d concert. Director of Photography\/Co-Director Alex Buono purposely highlighted red stage lighting, commonplace in the period Eagles concerts parodied in the episode \/ Photo Courtesy of Rhys Thomas<\/figcaption><\/figure>\n

The conceit emerged from SNL<\/em>\u2019s own 40th<\/sup> anniversary special, which Thomas had produced: A Public Television-type anthology series which presents documentaries each week, celebrating its own 50th<\/sup> anniversary by showing the best from previous seasons.<\/p>\n

\u201cWe knew we wanted to hit different time periods and different styles,\u201d adds Thomas, who co-created the show and co-directs with Buono. \u201cSo we needed a framework which justified that, and this was perfect.\u201d<\/p>\n

Authenticity is key to the show\u2019s comedic success. Thomas says they wanted the filmmaking to be a character itself, not just have it serve the comedy, which meant going back and studying the tropes of every variety of documentary seen in the series.<\/p>\n

\u201cOnce you establish \u2018This is real\u2019 with the audience,\u201d says editor Adam Epstein, another veteran of SNL<\/em>\u2019s film unit, \u201cit allows for the absurdity of taking a real moment in film and just tweaking it a bit, which results in the humor paying off.\u201d<\/p>\n

A major element in creating authenticity is matching<\/strong> the look \u2013 both in image capture and in post \u2013 of the referenced films. Buono and Thomas study interviews with the original directors and DPs to deduce what cameras and lenses were used. \u201cWe have to do this every week at SNL <\/em>for parody films the team produces,\u201d Buono says. \u201cPart of my job as cinematographer [at SNL<\/em>] is detective work: \u2018How did they shoot it? What camera and lenses did they use? What techniques were they going for?\u2019 And, with these period films, the lens is such a huge part of the look \u2013 every film was different.\u201d<\/p>\n

Adds Thomas, \u201cYou can do a lot in color correction to try to find the look of a film stock. But if you\u2019re still operating from a very sharp digital image, it\u2019s never going to feel quite right. So the lens is key.\u201d<\/p>\n

\"Fred<\/a>
Fred Armisen and Bill Hader as Gene Allen and Clark Honus in \u201cGentle and Soft: The Story of The Blue Jean Committee,\u201d a faux music documentary inspired by \u201cThe History of The Eagles\u201d \/ Photo Courtesy of Rhys Thomas<\/figcaption><\/figure>\n

Where possible, Buono consults with the original filmmakers. In the case of \u201cSandy Passage,\u201d the show\u2019s take on Grey Gardens<\/em>, Buono corresponded with Albert Maysles, shortly before he passed away. The nonfiction master gladly shared his approach, as well as lens, camera and film stock choices.<\/p>\n

Finding those lenses would have been painfully difficult were it not for the SNL<\/em> film unit\u2019s longstanding relationship with New York camera rental house TCS (Technological Cinevideo Services, Inc.) \u2013 who, by good fortune, also had supplied many of the original filmmakers with their equipment.<\/p>\n

\u201cThey happened to have supplied gear for both Errol Morris\u2019s team and The Maysles Brothers,\u201d Buono says. \u201cThey\u2019re like historians themselves and were just committed to finding those lenses for us.\u201d In fact, TCS located not only Ang\u00e9nieux zoom models that matched the Maysles\u2019 lenses, but the original 25-mm Super Speed lenses used by Robert Chappell to photograph The Thin Blue Line <\/em>(1988), <\/em>which Buono employed.<\/p>\n

For episodes that called for a 16mm film look, Buono shot with the RED DRAGON in order to use period\u00a0accurate 16mm lenses. \u201cMost digital cinema cameras\u00a0have a fixed Super35mm sensor size, which is too large for a 16mm lens to cover without vignetting,\u201d Buono explains. \u201cThe Dragon has the unique ability to \u2018window\u2019 the sensor, i.e., extract a portion of the full sensor that, when shooting at 2K resolution, approximates the size of a 16mm film gate, allowing full coverage of a 16mm lens. It\u2019s also lightweight and practical for all of the handheld work required for the series.\u201d<\/p>\n

\u201cOur 1st<\/sup> AC, Andy DePung, is good at streamlining that camera, which made it very easy to swap lenses or go to different modes \u2013 and keep it lightweight,\u201d adds camera operator Chris Cuevas, who first worked with Buono on the DP\u2019s debut feature, The Others<\/em>, in 1997.<\/p>\n

\"Fred<\/a>
Fred Armisen as Pipilok\/Kunuk, the Eskimo subject of \u201cKunuk, the Hunter.\u201d The episode was shot on a glacier an hour outside of Reykjavik, Iceland \/ Photo Courtesy of Alex Buono<\/figcaption><\/figure>\n

Two of the episodes used different camera systems. \u201cDRONEZ,\u201d the Vice<\/em> parody, utilized Canon EOS C300s \u2013 which the series operators use. Another, \u201cA Town, A Gangster, A Festival\u201d (about a small Icelandic town which hosts an annual Al Capone festival), was shot on a Canon XF305 and XF105. \u201cWe wanted it to look like the pre-Internet late-90s, so we used a prosumer 3-chip camcorder, which gave us that small-chip, deep-focus video-y look,\u201d Buono explains.<\/p>\n

Documentary Now!<\/em><\/strong>\u2019s first season was shot over a 24-day <\/strong>period earlier this year, filming mostly in Los Angeles with Cuevas operating. Two of the episodes \u2013 \u201cKunuk\u201d and \u201cA Town, a Gangster, A Festival\u201d \u2013 were shot in and around Reykjavik, Iceland. As noted, Buono, Thomas and Cuevas would study the referenced films carefully, analyzing signature shots and camera moves of both the filmmakers and the periods.<\/p>\n

For \u201cSandy Passage,\u201d Buono carefully studied all of the Maysles\u2019 films for \u201cthings like: are they on the wide side of the lens or the tight side? How are they covering scenes? Are they cutting into closeups, or are they just letting it play wide? Rhys and I would spot some of those moves, and then have a starting place that was very identifiable,\u201d the DP recalls.<\/p>\n

\u201cWe would start there, and begin adding our story on top, and just ask, \u2018How would the Maysles have covered this scene?\u2019\u201d Thomas adds. \u201cOf course, today you\u2019d cover the hell out of it with multiple cameras to give yourself options. But they only had one camera, so we would have to make sure not<\/em> to position the camera in too convenient a place.\u201d<\/p>\n

\"Director<\/a>
Director of Photography and Co-Director Alex Buono filming actor Fred Armisen on RED Dragon with re-housed vintage Series-1 Cooke prime lenses from the 1930s. Shot on location outside Reykjavik, Iceland\/ Photo Courtesy of Rhys Thomas<\/figcaption><\/figure>\n

\u201cWe would go, \u2018Okay, I\u2019m doing this, so maybe you could just cut to Fred,\u2019\u201d Hader adds. \u201cBut then we\u2019d stop and go, \u2018The Maysles Brothers had one camera. So you can\u2019t get Fred,\u2019\u201d says editor Epstein, instead breaking up shots with other inserts, as in the original. \u201cYou have to constantly keep in mind the reality that they were working under, while finding the balance to keep up pace,\u201d Epstein observes.<\/p>\n

The directors also had to remind the veteran Cuevas not to pan to Hader until after he had begun to speak a line \u2013 just as Maysles would have done. \u201cYou\u2019re reacting, rather than anticipating,\u201d Thomas describes. \u201cEven though everything is scripted, you have to stay in the mindset as if it is not,\u201d something which is opposite of more typical shooting for television, Cuevas notes. \u201cAs an operator, your instincts are to go with the dialogue. Alex and Rhys were good about reining me in and not going with my instincts, going instead with the reference material.\u201d<\/p>\n

For the silent-era \u201cKunuk,\u201d TCS was able to supply a set of (re-housed) Series-1 Cooke primes from the 1930s. But Buono still had to replicate the types of camera moves used by Nanook <\/em>filmmaker Robert Flaherty.<\/p>\n

\u201cFlaherty was a guy with very little cinematography experience at that time,\u201d Buono explains. \u201cHe was up there with a tripod and an old, hand-cranked Akeley pancake camera, just panning and tilting; no handheld. So much of that film just plays out in these wide shots, following Nanook on the horizon with these rough panning shots on this beat up old tripod in the Arctic. So that\u2019s what we did.\u201d<\/p>\n

\"Operator<\/a>
Operator Chris Cuevas gets a shot of Bill Hader in \u201cSandy Passage,\u201d using a vintage Angenieux 9.5-95mm zoom on the RED Dragon \/ Photo Courtesy of Rhys Thomas<\/figcaption><\/figure>\n

Editor Micah Gardner, working out of Broadway Video\u2019s post facilities in Beverly Hills, was keen to replicate the pacing of a silent-era doc, which also went against his own instincts. \u201cThey were still finding editing at that point in time,\u201d he notes. \u201cEvery shot in Nanook<\/em> just seems so long!\u201d \u2013 exemplified by a long static shot, which just holds on Armisen for several seconds as he blinks.<\/p>\n

Gardner would also replicate the use of jump cuts within a shot. \u201cThose had a double function,\u201d he says, allowing the team to both mix and match different takes, as well as replicate a well-known trope in silent films, representing bad splices and multiple repairs over the decades.<\/p>\n

Once an episode is cut in Adobe Premiere, Epstein and Gardner then use Red Giant Universe to apply approximate versions of effects, such as scratches, aging and dirt, which are then created in earnest after color timing by Post Supervisor Ted Pacult and assistant Greg Promani.<\/p>\n

During timing at Technicolor with colorist Scott Klein,<\/strong> another very important step is introduced \u2013 grain. While filmmakers often choose to utilize simple film grain plug-ins, such as Sapphire or Film Convert, during editorial, the results didn\u2019t quite fit the bill for Documentary Now!<\/em><\/p>\n

\u201cMost film grain emulation programs don\u2019t look real, because they\u2019re essentially simply a scan of a clear negative of a particular stock,\u201d Buono offers. \u201cAll you can do is just drop it in front of an image \u2013 it looks like you\u2019re looking through a shower curtain of grain at your image. And that\u2019s not at all how film grain works.\u201d<\/p>\n

\"A<\/a>
A shot from \u201cKunuk, The Hunter,\u201d a parody of Robert Flaherty\u2019s 1921 film, \u201cNanook of the North.\u201d Note effects of period lens and post treatment, faithfully recreating the silent film look\/ Photo Courtesy of Rhys Thomas<\/figcaption><\/figure>\n

The team instead turned to film texture consultant Suny Behar, whose LiveGrain system emulates the way silver halide film grain particles density varies with exposure in different areas of the frame. \u201cEvery point in every line of every frame gets mapped,\u201d Behar says, \u201cexactly as if the image had been photographed onto a film negative.\u201d<\/p>\n

Prior to an episode\u2019s color session, Buono and editorial provide Behar with both high-quality footage of the photographed image, as well of the reference footage, and information on original film stocks used. Behar then provides a range of presets for that film stock, representing ranges of exposure \u2013 any of which can be applied, as desired, anywhere in a scene or episode.<\/p>\n

Following color timing, Pacult and Promani work in After Effects to use a number of Red Giant Universe tools, as well as Magic Bullet and the dirt and scratches collection found in FilmLooks, to accurately create the wide variety of degradation effects seen throughout the series, i.e., flicker, dirt, scratches, gate weave and more.<\/p>\n

VHS tape effects are also introduced, where needed. For the \u201cKunuk\u201d interview footage of the silent film\u2019s original cameraman (part of the show\u2019s faux 1985 \u201cmodern\u201d documentary), Thomas and Buono modeled the shots on interviews with Hal Roach from Kevin Brownlow\u2019s 1980 doc series, Hollywood: A Celebration of the American Silent Film<\/em> \u2013 even to the point of matching the swimming pool seen in the background.<\/p>\n

Buono noted that those interviews were shot on 16 mm, with a 16-mm lens, and, true to the look of Brownlow\u2019s film, applied further videotape degradation in post. Notes Behar, \u201cIt would have been shot on film but transferred to tape, likely a Sony U-matic system, a number of times in Editorial. So the idea of shooting it on the original film stock, and then adding video compression on top, as if it had been transferred from tape to tape. You\u2019re seeing the image go through all those phases.\u201d Adds Buono, \u201cIt\u2019s gotta be a documentary made in the 80s, looking back at a film made in the 20s and then broadcast in the 80s, in our fictional documentary show, and then just revisited in 2015.\u201d<\/p>\n

\"Fred<\/a>
Fred Armisen and Bill Hader as \u201cBig Vivvy\u201d and \u201cLittle Vivvy,\u201d in \u201cSandy Passage,\u201d a send-up of The Maysles Brothers\u2019 Grey Gardens \/ Photo Courtesy of Tyler Golden\/IFC<\/figcaption><\/figure>\n

\u201cBlue Jean Committee,\u201d the most complex production of the series<\/strong>, also included video degradation. For faux archival footage representing a performance on NBC\u2019s In Concert<\/em>, Pacult introduced a shift in the color channels, altering the reds to create an effective videotape bleed, true to the era.<\/p>\n

A good amount of fake Super 8-mm footage also appears in the episode \u2013 mostly shot on an iPhone, using Nexvio\u2019s 8mm Vintage Camera app to provide an effective look. \u201cThe way you hold an iPhone conveys something closer to the way a dad would hold a small handheld camera than sending someone in with a Red mounted on their shoulder,\u201d Thomas notes.<\/p>\n

The episode also features a plethora of still photos, both used as props and as storytelling devices \u2013 all of which were shot by Thomas and Buono, who, lacking a budget for a full-time photo re-toucher to create them, applied aging and other degradation effects themselves. \u201cOn \u2018Blue Jean Committee\u2019 we spent a full production day shooting nothing but \u2018archival\u2019 still photos,\u201d Buono recounts. \u201cOur AD actually has them scheduled in as shots on episodes. They\u2019re part of the day\u2019s work.\u201d<\/p>\n

The resultant compilation of effects and skills, from lens selection, image capture, LiveGrain, and post effects, along with Hader and Armisen\u2019s performances, demonstrate the filmmakers\u2019 incredible love for documentary \u2013 enough to effectively fool and entertain the show\u2019s audience. \u201cI always say,\u201d concludes Hader, \u201cthat we\u2019re doing our jobs right if you\u2019re flipping channels and find yourself saying, \u2018Oh, wow, Grey Gardens<\/em> is on. Oh, no, wait \u2013 what\u2019s Fred Armisen doing in Grey Gardens<\/em>?\u2019\u201d<\/p>\n

Lead Image: Prop photo from Documentary Now!, featuring the faces of actors Fred Armisen and Bill Hader inserted into an archival photograph and degraded in post \/ Photo Courtesy of Rhys Thomas<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Longtime SNL DP Alex Buono replicates classic nonfiction of all stripes for the new IFC series, Documentary Now! By\u00a0Matt Hurwitz. Two women, a mother and daughter \u2013 both with the same name \u2013 are introduced in classic cinema v\u00e9rit\u00e9 fashion. The younger, more odd lady is showing us around their rundown house, hoping to pass the duo off as just a step away from high class. Interrupted by her mother, she screams at the old woman, who, we see, is […]<\/p>\n","protected":false},"author":1,"featured_media":5728,"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-5727","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-web-exclusive"],"acf":[],"yoast_head":"\nReal Fun - 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\/real-fun\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Real Fun - ICG Magazine\" \/>\n<meta property=\"og:description\" content=\"Longtime SNL DP Alex Buono replicates classic nonfiction of all stripes for the new IFC series, Documentary Now! By\u00a0Matt Hurwitz. Two women, a mother and daughter \u2013 both with the same name \u2013 are introduced in classic cinema v\u00e9rit\u00e9 fashion. The younger, more odd lady is showing us around their rundown house, hoping to pass the duo off as just a step away from high class. 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