{"id":8407,"date":"2019-01-09T18:10:07","date_gmt":"2019-01-10T02:10:07","guid":{"rendered":"http:\/\/www.icgmagazine.com\/web\/?p=8407"},"modified":"2021-05-30T18:20:27","modified_gmt":"2021-05-31T01:20:27","slug":"shell-take-manhattan","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/shell-take-manhattan\/","title":{"rendered":"She’ll Take Manhattan"},"content":{"rendered":"
\"Photo
Photo by Nicole Rivelli<\/figcaption><\/figure>\n

And a whole bunch of Emmys, too! The Marvelous Mrs. Maisel <\/i>begins Season 2 as one of the most critically touted shows in TV history thanks to a tight creative team that values union labor.<\/strong><\/p>\n

Regardless of whether you watch on your phone, tablet or large-screen LED display, The Marvelous Mrs. Maisel\u00a0<\/em>feels big: like a major cinematic work. Or, as co-DP David Mullen, ASC (who received an ASC Award nomination for the pilot) describes: \u201cWith some people watching in 4K HDR on 60-inch monitors and others watching on a smartphone, you can\u2019t choose a shot size or composition based on the unknown dimensions of the display.\u201d<\/p>\n

\u201cSo,\u201d adds Maisel <\/em>co-DP Eric Moynier, \u201cwe look at shooting this series as home cinema. We don\u2019t think about the size of the screen, we think about how the shot will help tell the story and achieve the look that David and Amy created for the pilot.\u201d<\/p>\n

\u201cAmy,\u201d of course, is Amy Sherman-Palladino, who, along with husband Dan Palladino, forms Maisel<\/em>\u2019s show-running team. Both are Emmy-winning producers, with show creator Amy Sherman-Palladino also winning for directing and writing, the latter aided by whip-smart dialog that helps to establish the pace and energy of the camera coverage. And as 2nd<\/sup>AC Cornelia Klapper observes: \u201cUnlike other comedy shows, the camera plays an active role. Movements are choreographed and precise, supporting and emphasizing the energy of the actors. Often the camera move becomes an active participant in the scene.\u201d<\/p>\n

Now entering its second season, after a spectacular Amazon streaming debut that included eight Emmy awards and two Golden Globes, The Marvelous Mrs. Maisel\u00a0<\/em>centers on a 1950s New York City housewife playing along with her husband\u2019s hobby: stand-up comedy. The relationship unexpectedly goes south, and Miriam \u201cMidge\u201d Maisel (the marvelous one), reeling from betrayal and a little bit drunk, heads off to the club and inadvertently finds herself in the spotlight. In comedy parlance, she kills.<\/p>\n

Season 1, which followed Midge through the ups and downs of being a young divorc\u00e9e and a rising female comic (when there weren\u2019t any), has departed from the comedic playbook in ways beyond just camera movement; i.e., it\u2019s primarily a single-camera production.<\/p>\n

As Moynier asserts: \u201cWe\u2019ll never compromise the look of the show with a second camera. If lighting is right, we may use two cameras for cross coverage, but that\u2019s it. And we\u2019re not lensing close-ups with 50 or 75 millimeter \u2013 we will use a 30 millimeter. If we\u2019re doing a single on Midge [played by Rachel Brosnahan] or Susie [Myerson, played by Alex Borstein], it will be clean with a tight eyeline.\u201d<\/p>\n

\"Eric
DP Eric Moynier says he and David Mullen, ASC, “never compromise the look of the show with a second camera.” Operator Jim McConkey, SOC on location in N.Y.C. \/ Photo by Nicole Rivelli<\/figcaption><\/figure>\n

In fact, Mullen and Moynier never shoot close-ups and rarely shoot insert shots.<\/p>\n

\u201cOnce or twice,\u201d Mullen recalls, \u201cwhen we had a shot with some text on a notecard or small sign that had to be read by the viewer, we\u2019ve had to sharpen and add some contrast to the lettering in post to make it more legible, rather than shoot it tight.\u201d The DP\u2019s also try to separate characters from the background at key moments with careful lighting and depth of field. \u201cSometimes if I find the background too busy behind the actors\u2019 heads in an intimate dialogue scene, I\u2019ll open up the lens iris from our usual f\/2.8 to an f\/2.0 to soften the background at that moment,\u201d Mullen adds.<\/p>\n

Stylistic continuity has been seamless. \u201cEric and I match each other\u2019s lighting and the look created from the start, and we have [A- Camera\/Steadicam Operator] Jim McConkey [SOC] on every episode to keep the moving camera and framing style consistent,\u201d Mullen continues. \u201cThe main time when we really have to coordinate with each other is when a new set is built, and the permanent lighting installed has to work for both of us and the potential needs of the scripts down the road.\u201d<\/p>\n

\u201cThe biggest challenge in season one,\u201d describes Gaffer John Oates, \u201cwas coordinating the lighting cues with the camera. My dimmer board operator, Scott Maher, was very proactive to head off potential problems.\u201d Close collaboration with Production Designer Bill Groom and his art department ensures that practical lighting does a lot of the work illuminating the actors, particularly, Mullen says, \u201csince we often do elaborate camera moves, sometimes 360s, which make it hard to add any movie lighting. I\u2019m proud when I light a scene that looks natural and is still flattering for the cast, and yet allows unrestricted camera movement. It\u2019s what most cinematographers hope to achieve!\u201d<\/p>\n

McConkey says he gets an assist from the Artemis Prime video viewfinder, which he sets to the scene\u2019s lens and camera package. He then puts the lens on the iPad and choreographs shots with Sherman-Palladino. \u201cAfter rehearsal, but before we bring in the rest of the crew, Amy stands behind me and I use the finder to see what she\u2019s seeing,\u201d McConkey shares. \u201cThen she literally pushes me around to track the shot. I know when she\u2019s got a wild idea because she gets a mischievous look. She\u2019ll say, \u2018Can you spin around?\u2019 and then David or Eric and I will try to figure out a way to make that happen. That\u2019s how we discover the emotional center she wants for the shot.\u201d<\/p>\n

They make temporary marks, and by the time rehearsals for official marks roll around, McConkey has the moves figured out and recorded on his iPad. After a couple of run-throughs, he can show the DP\u2019s where they are able to place lights. \u201cIt\u2019s instantaneous,\u201d he says. \u201cThat\u2019s why we can do complicated scenes in a way that\u2019s creatively and emotionally quicker than traditional situations.\u201d<\/p>\n

\"Gaffer
Gaffer John Oates notes that close collaboration with Production Designer Bill Groom’s art department “ensures practical lighting does a lot of the work illuminating the actors.” \/ Photo by Nicole Rivelli<\/figcaption><\/figure>\n

One such example was a flashback montage Mullen shot for Episode 4. <\/strong>It starts at a nighttime New Year Eve\u2019s party and moves from the dining room into the living room, rotates around Midge, and then transitions in halfway through a second 360 to a daytime interior of the same living room now empty except for Midge, and then moves back to the dining room into a wide shot.<\/p>\n

\u201cAmy wanted the transition as seamless as possible rather than using a traditional dissolve,\u201d Mullen recalls.\u00a0\u201cKnowing that our visual effects supervisor, Lesley Robson-Foster, would have to do some morphing to hide the transition, we had to make sure the background behind Midge would be the same in both versions and that her hair and wardrobe wouldn\u2019t be too different. We didn\u2019t want a collar or a sleeve to disappear or appear on her during the transition. I had to light [Brosnahan] with an overhead source that stayed on during both versions, though in the transition to daytime the soft ambient window light naturally floods onto her as an additional source.\u201d<\/p>\n

Mullen shot the scene on a 21-mm lens (instead of the show\u2019s typical 24 mm), so Robson-Foster had some flexibility to zoom into the frame and reposition elements to make the two passes line up exactly.\u00a0\u201cIn the end,\u201d Mullen reports, \u201cLesley still had to combine elements from both passes to get everything to line up at the moment of transition.\u201d<\/p>\n

Traditionally this sequence would be produced with a motion-control rig, but the semi-spiral movement couldn\u2019t be done on a track. Jim McConkey practiced the \u201cfigure 9\u201d move by having playback feed an overlay of the party sequence on his Steadicam monitor, enabling him to match distance and lens height as closely as possible. He used Betz-Tools Wave1 to stabilize the horizon so he could focus on framing and choreography without worrying about being off level.<\/p>\n

Another complex and iconic oner in the inaugural season was a four-minute sequence in the Copacabana club, shot at a carefully redesigned Masonic Temple in Brooklyn. It begins close on a drummer on stage, flies through the band and pulls further back to reveal people dancing, and sitting at tables. Then it lowers to crowd level, following a waiter through the room and into the kitchen, where there\u2019re about two minutes of dialog between Midge and Susie, captured in a 360.<\/p>\n

They knew the shot would require a crane, a M\u014dVI and some kind of electromagnetic release system to continue action into the kitchen. \u201cThat\u2019s when I called [older brother] Larry,\u201d Jim McConkey remembers. The elder McConkey, part mad scientist, part master mechanic (and co-inventor of the SkyCam), had already used a mechanical quick-release system for a Luc Besson film but decided the shot needed something \u201cslicker\u201d and designed a system specifically for this shot. After a few days of tinkering, he had the solution: a new rig using an electromagnet with a 20-pound weight that would free the camera from the 50-foot Technocrane and \u201cmount\u201d it on the operator.<\/p>\n

\u201cCharlie [Sherron, Key Grip] had to figure out how to take the safety off so the camera didn\u2019t fall by mistake, and the grips contracted the arm as Larry, wearing the Armor Man, walked in,\u201d Jim McConkey recalls. \u201cThey had to pull down on the crane while he was pushing up to take out the \u2018drop\u2019 and hide the transition while I was on the wheels. We think that was the first time this technique has been done.\u201d<\/p>\n

First AC Anthony Cappello describes the controlled chaos: \u201cWe had literally everyone from the AD department choreographing background, the grip department on crane, the lighting department coordinating cues to avoid camera shadows, dancers avoiding bumping into the camera, and our operators \u2013 Jimmy on the wheels, Larry carrying the M\u014dvi \u2013 coordinating all the difficult moves, while I had the multiple focusing challenges.<\/p>\n

\u201cEveryone had to be on point, or you would have a collision or make a mistake that would require us to start all over. I believe it took 21 takes total. It\u2019s an impressive shot \u2013\u00a0a big movie shot \u2013 pulled off on a weekly series. We\u2019re all very proud of it.\u201d<\/p>\n

\"Costume
Costume Designer Donna Zakowska says she and the DP’s often reference “Kodacolor when we\u2019re searching for a hue, like that certain red or certain green.\u201d \/ Framegrab Courtesy of Amazon<\/figcaption><\/figure>\n

Adding to the visual magic is an authentic late 1950s look and feel <\/strong>created by Bill Groom\u2019s detailed production design and Donna Zakowska\u2019s equally scrupulous and creative costume design (which earned an Emmy nomination). Groom and set designer Ellen Christiansen know how to deliver shootable sets that were almost 360, so as not to restrain Sherman-Palladino\u2019s love of long takes, or Mullen and Moynier\u2019s ability to deliver that vision. \u201cThe details and the palette are everywhere I point the camera,\u201d Moynier says. Adds Mullen: \u201cWhat Eric and I do is try to find opportunities to naturally bring in some colored lighting now and then, perhaps some red neon lighting in a bar scene.\u201d<\/p>\n

Sequences shot outside in modern-day New York require some thought, given the 180- and 360-degree shots that have become part of the series\u2019 visual language. Sometimes the solution to staying \u201con period\u201d is low-tech, like blocking reflections in car or building windows or hiding modern elements behind period delivery trucks or busses. Other times, a little assist from post is required.<\/p>\n

The wardrobe \u2013 and how it appears on screen \u2013 revels in the late-1950s era in which the story unfolds. As Mullen describes: \u201cIn the movies of that period you often see the lead actress walk into a grey or brown room wearing a dress or coat in a striking color that pops from the background.\u201d He calls this color aesthetic \u201caggressively pastel\u201d because it features a strong color accent framed against neutral tones.<\/p>\n

\u201cDavid and I both enjoy working with color and make a lot of references to Kodacolor when we\u2019re searching for a hue, like that certain red or certain green,\u201d Zakowska shares. \u201cHe\u2019s very supportive of my use of color in what he can photograph. You can create great costumes, but they have to work with the cinematography, whether it\u2019s digital or film.\u201d<\/p>\n

To keep all that color palette consistent is DIT Charlie Anderson, who says Mullen and Moynier both make on-set color management a priority. \u201cI\u2019m primarily doing color matching between cameras,\u201d Anderson relates. \u201cMy main goal is to match the wide or the first shot in the series, whichever comes first, pulling iris when needed.\u201d David Mullen does as much color and lighting work in-camera as possible, \u201cso I\u2019m mainly matching color. He does his own stop pulls, also, unless there\u2019s a need for both cameras to do one.\u201d<\/p>\n

\"DIT
“On-set color management is a priority,” for both Mullen and Moynier, says \u00a0DIT Charlie Anderson, who adds his main goal is “matching color between the cameras.” \/ Photo by Nicole Rivelli<\/figcaption><\/figure>\n

Anderson checks in with dailies colorist Aaron Burns and Light Iron Supervising Colorist Steven Bodner almost daily about the prior and current day\u2019s work, as well as what\u2019s coming up. \u201cThis gives Steven as much info as possible when going into a DI, as he\u2019s working on a time crunch,\u201d Anderson adds. \u201cThe more Steven is able to prep and be aware of, the more time he\u2019s able to anticipate certain situations that arise in the final color, especially since we\u2019re doing an HDR master as well.\u201d<\/p>\n

\u201cWhat\u2019s very important about this show is the dedication and commitment. Everyone cares,\u201d Cappello says. \u201cI believe this stems from Amy and Dan, who are there and committed every day, and from our producers Dhana Gilbert, Nick Thomason and Meghan Wicker. They make us feel welcome and a real part of the process. Being committed is easy because it\u2019s a true collaboration.\u201d<\/p>\n

The results in a single season speak for themselves: 16 Emmy nominations, including Comedy Series and Outstanding Cinematography for a Single-Camera Series (One Hour), and eight statuettes. Maisel<\/em>\u00a0also garnered two Golden Globes in 2018 (Best TV Series – Musical or Comedy, and Best Performance by an Actress in a TV series \u2013 Musical or Comedy) and, just recently, another Golden Globe for Brosnahan for Season 2.<\/p>\n

\u201cI\u2019ve never been asked by so many other New York AC\u2019s if I could get them on this show, just to work for a day,\u201d laughs Andrea Bias, B-Camera 2nd<\/sup>AC for Season 2. \u201cMaisel\u00a0<\/em>is shot like a feature film. I feel very proud to be a part of such meticulously crafted work.\u201d<\/p>\n

For Mullen and Moynier, the success of The Marvelous Mrs. Maisel\u00a0<\/em>is derived from true creative cohesion. \u201cAmy and Dan\u2019s writing and the performances from our cast really drive this show,\u201d Mullen concludes. \u201cThere\u2019s also an aesthetic pleasure from watching the image that the viewer feels, though I think that is mostly due to Donna\u2019s costumes and Bill\u2019s production design, and the whole time-capsule aspect.\u201d<\/p>\n

\u201cThe ensemble camera team is amazing at logistics, getting things ready and pulling off some challenging shots,\u201d Moynier adds. In fact, Sherman-Palladino made specific mention of the union crew in one of her Emmy acceptance speeches. \u201cThey have a great attitude, they\u2019re top-shelf and they bring their A-games,\u201d Moynier continues. \u201cWe wouldn\u2019t be able to achieve any of this without them.\u201d<\/p>\n

\"Co-DP
M. David Mullen (center with smartphone) earned an ASC Award nomination for The Marvelous Mrs. Maisel<\/em> pilot \/ Photo by Nicole Rivelli<\/figcaption><\/figure>\n

By Margot Lester\u00a0<\/strong><\/p>\n

Local 600 Crew List<\/strong><\/p>\n

Directors of Photography: M. David Mullen, ASC, Eric Moynier<\/p>\n

A-Camera Operator\/Steadicam: Jim McConkey, SOC<\/p>\n

A-Camera 1st AC: A. Anthony Cappello<\/p>\n

A-Camera 2nd AC: Kellon Innocent<\/p>\n

B-Camera Operator: Greg Principato<\/p>\n

B-Camera 1st AC: Rossana Rizzo<\/p>\n

B-Camera 2nd AC: Andrea Bias<\/p>\n

DIT: Charlie Anderson<\/p>\n

Loader: James Dean Drummond<\/p>\n

Still Photographer: Nicole Rivelli<\/p>\n","protected":false},"excerpt":{"rendered":"

And a whole bunch of Emmys, too! The Marvelous Mrs. Maisel begins Season 2 as one of the most critically touted shows in TV history thanks to a tight creative team that values union labor. Regardless of whether you watch on your phone, tablet or large-screen LED display, The Marvelous Mrs. Maisel\u00a0feels big: like a major cinematic work. Or, as co-DP David Mullen, ASC (who received an ASC Award nomination for the pilot) describes: \u201cWith some people watching in 4K […]<\/p>\n","protected":false},"author":2,"featured_media":8428,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"footnotes":""},"categories":[2],"tags":[],"class_list":["post-8407","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features"],"acf":[],"yoast_head":"\nShe'll Take Manhattan - 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\/shell-take-manhattan\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"She'll Take Manhattan - ICG Magazine\" \/>\n<meta property=\"og:description\" content=\"And a whole bunch of Emmys, too! The Marvelous Mrs. Maisel begins Season 2 as one of the most critically touted shows in TV history thanks to a tight creative team that values union labor. Regardless of whether you watch on your phone, tablet or large-screen LED display, The Marvelous Mrs. Maisel\u00a0feels big: like a major cinematic work. 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The Marvelous Mrs. Maisel begins Season 2 as one of the most critically touted shows in TV history thanks to a tight creative team that values union labor. Regardless of whether you watch on your phone, tablet or large-screen LED display, The Marvelous Mrs. Maisel\u00a0feels big: like a major cinematic work. 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