{"id":8987,"date":"2019-09-01T11:56:53","date_gmt":"2019-09-01T18:56:53","guid":{"rendered":"http:\/\/www.icgmagazine.com\/web\/?p=8987"},"modified":"2021-05-30T18:10:44","modified_gmt":"2021-05-31T01:10:44","slug":"not-strictly-ballroom","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/not-strictly-ballroom\/","title":{"rendered":"Not Strictly Ballroom"},"content":{"rendered":"

FX\u2019s hit series sashays into Season 2 with more than just creative momentum \u2013\u00a0it\u2019s become a life-changing experience for the many Local 600 members behind the lens.<\/span><\/p>\n

by Margot Carmichael Lester<\/span><\/p>\n

 <\/p>\n

\n

You could look at the FX hit Pose<\/em>, whose second season debuted this past June, as simply a terrific story well told. Which it most assuredly is. But that\u2019s only part of the narrative, really.<\/p>\n

Pose<\/em>\u2019s first season introduced a world where the very privileged and the very marginalized \u2013\u00a0living at the height of consumerist materialism and the AIDS epidemic \u2013\u00a0overlapped. The near-simultaneous rise of ballroom culture, the New Right, and the fortification of the gay and trans community in this same timeframe helped to give the show a defined social and political context, as well as a large viewing audience. With a deeper dive into the lives of the many trans characters who populate this unique sub-culture, and their impoverished backgrounds highlighting season two, the Ryan Murphy-produced drama has brazenly challenged outmoded norms. It has also shown contemporary audiences that great results can come from personal and cultural liberation: realness in all its righteous glory.<\/p>\n

 <\/p>\n

\"Season
Nelson Cragg, ASC, who established the look for Season 1’s opening episodes, says the goal was to “depict the lives of these characters honestly, while offering some stylization so [the look] was not bleak.” \/ Photo by Sarah Shatz\/FX<\/figcaption><\/figure>\n

As <\/strong>Director, Writer, and Co-Executive Producer\u00a0<\/strong>Janet Mock <\/strong>describes:\u201c[Pose<\/em>] is unlike anything else on television because it offers a moving portrait of what it means to love yourself despite being given no love from the world. It\u2019s a trailblazing story about LGBTQ people, who are so often marginalized and discarded in our society, and re-centers them as underdogs and misfits, who band together in order to create a new kind of family.\u201d<\/p>\n

\u201cEverybody wants to be their real selves,\u201d adds executive producer Alexis Woodall. \u201cWe all have something we\u2019re nervous about. These characters show us that being real is more important than getting by. I hope for the audience they remember that and get a boost of personal bravery from it.\u201d<\/p>\n

Nelson Cragg, ASC, a frequent collaborator with showrunner Murphy, established the visual look for Season 1\u2019s first two episodes. \u201cWorking with Ryan is amazing because he supports the creative vision by being very open to things,\u201d notes Cragg, who also directed episode 3.<\/p>\n

Cragg says the goal was to depict the lives of these characters honestly, \u201cwhile offering some stylization, so it would not be too bleak. The inspiration was partly based on the real spaces that the balls took place in. We watched the [1990 indie] documentary Paris Is Burning\u00a0<\/em>and referenced the light. The spaces were not permanent, so they didn\u2019t have huge lighting or set dressing setups. The bold red color was taken from the real balls, and we added some spotlights and disco balls. But it\u2019s pretty close to what they had there at that time. Fluorescent overheads, lots of smoke from cigarettes.\u201d<\/p>\n

ARRI cameras, Zeiss Ultra Primes and Ang\u00e9nieux lightweight zooms were Cragg’s tools of choice.<\/p>\n

\u201cI prefer working with zooms on a show like this because we have to be fast and flexible,\u201d \u00a0he continues. \u201cRyan chose to work with a real trans cast, many of whom had not had much on-screen experience. This meant we needed to keep the shots simple, and not do real specific lighting. Because we wanted [the cast] to feel free to experiment and not be locked into a mark,we had to be ready to capture everything in a live-type environment, where you don\u2019t want to be changing lenses constantly. Basically, we had to light spaces, not shots.\u201d<\/p>\n

Season 1 A-camera\/Steadicam operator Andrew Mitchell, SOC, says Cragg likes images that are graphic and cinematic. \u201cNelson will almost always move a light if it makes a better frame,\u201d Mitchell shares. \u201cIf we have three cameras and one has a so-so shot, he\u2019ll pull them out.\u201d<\/p>\n

Devon, England\u2013born cinematographer Simon Dennis, BSC, shot the remainder of Season 1. Mitchell says Dennis likes to refer to shots on an emotional level. \u201cSimon will shoot stills on his phone during the rehearsal and show them to his operators for the setups he wants,\u201d Mitchell continues. \u201cHe gets into the camera\u2019s technical settings, changing the shutter angle, ISO, and color temperature and riding the iris.\u201d<\/p>\n

Season 2 was lensed by Andrei Bowden Schwartz; of the differing creatives behind the camera, Season 2 A-camera 1st<\/sup>AC Damon LeMay says: \u201cOne of the joys of shooting a show with such a large performance component is that the operators and the focus pullers really get to play on a regular basis. Having DPs who allow you to find new and exciting moments on the fly makes that a lot of fun.\u201d<\/p>\n

 <\/p>\n

\"Season
Season 2 A-camera operator Peter Vietro-Hannum says the biggest challenge to the balls was their sheer magnitude. \u201cThe standard coverage of a normal scene doesn\u2019t apply,” he remarks. “There were dozens of characters and 50 to 75 extras.” \/ Photo by JoJo Whilden\/FX<\/figcaption><\/figure>\n

 <\/p>\n

Pose<\/em>\u2019s ballroom scenes, shot on location in Season 1 and then on a\u00a0<\/strong>painstakingly recreated soundstage set for Season 2, are key aspects of the show\u2019s success. Loud, raucous and full of life, Cragg knew the \u201cballs\u201d had to be experienced in 360 degrees to make viewers feel like they were in the room.<\/p>\n

\u201c[The ball scenes] had to be loose and free, which meant the camera had to spin and move with the action to draw people in,\u201d Cragg explains. \u201cWe lit with spotlights, and par cans and lights we could shoot. It provided real-life lens flares and made sure the operators were not locked into small areas. We had the amazing Andrew Mitchell on Steadicam, and that always helps! No ones move a camera like Andrew.\u201d<\/p>\n

The ball sequences were given a deliberate Technicolor look that Dennis describes as \u201ca reflection of how these characters feel on the inside when they gather for the beautiful \u2018ball culture.\u2019\u201d<\/p>\n

In fact, each ball is identified by a specific choice of colors.<\/p>\n

\u201cSome of these were pre-planned and some were organically worked out on the day once I\u2019d seen the costumes and blocking,\u201d Dennis adds. \u201cAll the LED Astera and PAR-can units on set were controlled from our central board, so it was a very quick process to try out ideas. Thank goodness for today\u2019s advanced LED lighting systems, as it would have been impossible without them.\u201d<\/p>\n

Season 2 A-camera operator Peter Vietro-Hannum says the biggest challenge to the balls was their sheer magnitude. \u201cThe standard coverage of a normal scene doesn\u2019t apply,\u201d he remarks. \u201cThere were dozens of characters that needed to be seen, and around 50 to 75 extras with fantastic costumes that make the whole scene come to life. We always had three cameras. A-camera usually started with a wide lens on the Technocrane, and the B and C cameras work the crowd with long lenses.\u201d<\/p>\n

Adds Schwartz: \u201cIt gets tricky to hide cameras from each other and not cast camera shadows from the spotlights. The solution is to not go for too many similar frame sizes at once, but rather to pair a super-wide with two long-lens cameras. After that, it\u2019s all about synchronizing with the walkers and dance numbers and making sure we\u2019re ready for changes.\u201d<\/p>\n

 <\/p>\n

\"Season
Costume Designer Analucia McGorty (who also co-designed with Lou Eyrich in Season 1) says their team spent weeks researching New York City’s ballroom culture to create wardrobe that was “visually delicious.” \/ Photo by Macall Polay\/FX<\/figcaption><\/figure>\n

 <\/p>\n

The ball costumes and art design also<\/strong> required a high level of experimentation.\u00a0\u201cWe did so much research, starting with Season 1 when Lou [Eyrich] and I were co-designing,\u201d recalls Analucia McGorty, who took over costume design for Season 2. \u201cWe spent six weeks researching the ballroom scene and culture, but also New York in general. We want to make sure we\u2019re representing these subcultures and parts of New York accurately. It should be visually delicious.\u201d<\/p>\n

McGorty calls it a \u201cprivilege\u201d to be able to create, shop for and dress Billy Porter, a style icon in real life who presides over Pose<\/em>\u2019s ballroom\u2019s activities as the character Pray Tell. \u201cBilly has this great, beautiful star power that\u2019s not male or female,\u201d McGorty adds. \u201cSometimes we just bring in bolts of fabric, as he\u2019s so open to anything.\u201d<\/p>\n

The level of complexity Pose<\/em>\u2019s costume department gets into is remarkable. For a Marie Antoinette costume, donned by Dominique Jackson as Elektra Abundance, in Season 2\u2019s opening episode, the dress \u2013 magnificently decadent and royal \u2013\u00a0also required a functioning carousel and faux guillotine!<\/p>\n

\u201cWe made it in two weeks,\u201d McGorty describes. \u201cWe had to figure out what materials to use for the skirt so it would spin and function to the motion of the coat, and so the costume lifted up for the guillotine. It had to be light for the actor to wear \u2013\u00a0for 10 hours\u00a0\u2013\u00a0and to move and act in it. We had to make sure to do multiple rehearsals with the choreographers so everyone would know how it worked. We had so many prototypes and samples and even had to hand-paint these little horses.\u201d<\/p>\n

As for her give-and-take with the camera department, McGorty says it\u2019s a close one.<\/p>\n

\u201cI think of them as partners in what we\u2019re doing,\u201d she adds, \u201cbecause they\u2019re so collaborative. I\u2019m so grateful for how all the departments work together to make things happen. We\u2019re all separate locals, with different responsibilities, but none of this would succeed if we didn\u2019t work as a team.\u201d<\/p>\n

 <\/p>\n

\"Season
“Color is a huge part of my love of being a cinematographer,” notes Simon Dennis, BSC. “So I used color to also capture those skin tones, whether it be vibrant or subtle.” \/ Photo by Jeffrey Neira\/FX<\/figcaption><\/figure>\n

 <\/p>\n

Portraying Pose<\/em>\u2019s many different characters requires\u00a0<\/strong>special attention to lighting. Schwartz says the goal isn\u2019t to equalize everyone within a shot, but rather to ensure people are represented accurately and attractively. \u201cWhen we\u2019re shooting wides, we look for areas to sneak-in special lights for those with darker tones or shadowing hairdos,\u201d he explains. With coverage, I read the scopes to make sure everyone\u2019s reading at the correct baseline for their fill or key side. We have different lighting approaches to different characters.\u201d<\/p>\n

All three directors of photography prefer nailing exposures in-camera, rather than relying on post.<\/p>\n

As Dennis describes: \u201cIt can often just be simple tricks of flagging, netting, eye or catchlights. Of course, you can window faces in post, but for me, I want to embed the look in-camera. Lighting-wise we used soft direct sources to shape, and when the opportunity arose we embraced backlight in a location or set to help the skin tones glow. Color is such a huge part of my love of being a cinematographer, so I used color also to capture those skin tones, whether it be vibrant or subtle.\u201d<\/p>\n

Mock says Dennis\u2019 preparation and approach were integral to a show that features an array of directors working on a tight schedule. \u201cSimon lights with such authority and swiftness,\u201d she observes. \u201cHe\u2019s trained as an editor so he understands coverage. Those are all skills that come in handy when you\u2019re tight on time and need to figure out what\u2019s absolutely necessary to cover a scene at the end of your day. I don\u2019t think I could ask for a better partner on my directorial debut [Season 1, Episode 6].\u201d<\/p>\n

The director (who recently signed a historic deal with Netflix) describes how her prep with Dennis allowed for more time on-set to capture complex shots.<\/p>\n

\u201cWe had a 360 shot in the middle of a crowded ballroom. It was Blanca confronting a playboy who has wronged her. We had to cover the runway performances, then pan-up dramatically to the balcony to capture Blanca\u2019s moment with our crane. Simon was also helpful in helping me achieve a oner when Patty walks out of the diner and onto the street, and the camera lands through the window on a heartbroken Angel. These were tricky shots that we had mapped out during that lunch and accomplished on the night of because of our planning together during that two-hour pageturn.\u201d<\/p>\n

 <\/p>\n

\"Season
Season 2 A-camera 1st AC Damon LeMay calls the many close-ups shot with wide lenses a defining element of Pose’s look. \u201cA 27 millimeter is common. And we\u2019re often less than four feet from the actors,\u201d LeMay states. \/ Photo by Macall Polay\/FX<\/figcaption><\/figure>\n

 <\/p>\n

LeMay notes that one of Pose<\/em>\u2019s defining visual elements is that<\/strong> close-ups are often shot with wide lenses. \u201cA 27 millimeter is a common lens for our close-ups,\u201d he states. \u201cAnd we\u2019re often less than four feet from the actors.\u201d The results are intimate frames that put the camera (and the viewer) in the scene instead of observing it.\u201c All credit for maintaining the intensity of the scenes should go to the cast,\u201d LeMay adds. \u201cThese actors are so dedicated. All we can offer is to be quiet and professional. They do the rest and deliver fantastic performances, even with a camera directly in their face.\u201d<\/p>\n

Vietro-Hamman agrees. \u201cTheir personal stories and willingness to get emotionally naked are like no cast\u2019s I\u2019ve ever worked with.\u201d<\/p>\n

Small spaces, like the Peep Show rooms and the hallway of Blanca\u2019s apartment, add authenticity and complexity. Dennis says he tried to keep those spaces as simple as possible.<\/p>\n

“Production Designer Jamie Walker McCall\u00a0always worked with me on providing decent practicals in-frame to boost or express the look needed,\u201d Dennis recounts. \u201cSometimes it\u2019s a simple bare bulb, but the type, color, and texture of that bulb are enough to express what\u2019s needed. You can\u2019t just leave those choices to chance, especially if it\u2019s primary source lighting the scene, which we would then augment as needed.\u201d<\/p>\n

McCall, a member of Local 800 Art Directors Guild, says that Dennis is a \u201cdelight to work with\u201d and brings her sets to life. \u201cWe continually bounce ideas or concerns off of one another. I often send him emails after I\u2019ve looked over the dailies. It\u2019s usually praise, but he may tell you otherwise,\u201d she says, laughing.<\/p>\n

One memorable tight shot in a tight spot took place in the Season 2 opener. Blanca (Mj Rodriguez) and Angel (Indya Moore) needed to have a serious conversation, and a cast member suggested shooting the scene as Blanca deep-cleans the bathroom.<\/p>\n

\u201cThe bathroom is five feet by five feet, so you can\u2019t really fit in there,\u201d recalls director Gwyneth Horder-Payton. \u201cBut maybe we could find a way because the characters would\u00a0<\/em>be doing that.\u201d The close surroundings highlighted the intimacy between the characters and brought home the fact that Blanca cannot get away from her HIV diagnosis. \u201cFor me, it\u2019s about keeping my mind as open as possible to different approaches,\u201d Horder-Payton adds. \u201cI realize our cast members are coming from a very different place and that their choices may be more viable.\u201d<\/p>\n

 <\/p>\n

\"\u201cIt\u2019s
\u201cIt\u2019s important to say out loud how much the show means to all of us who work on it,” says Season 2 Director of Photography Andrei Bowden Schwartz “We all feel we’re very lucky to be here.” \/ Photo by JoJo Whilden\/FX<\/figcaption><\/figure>\n

 <\/p>\n

In truth, everyone involved with Pose\u00a0<\/em>says the show has been transformative<\/strong>, providing inspiration, education and, perhaps most importantly, affirmation.<\/p>\n

\u201cIt\u2019s important to say out loud how much the show means to all of us who work on it,\u201d Schwartz concludes. \u201cWe all feel we\u2019re lucky to be here, and we greatly appreciate the cast and the stories that we\u2019re telling. It can be a challenging show, but the entire concept is so inspiring. What it means to the audience, and especially to the cast, makes it very special and unique.\u201d<\/p>\n

LeMay appreciates how relevant the issues are in today\u2019s world. \u201cViolence against transgender women remains appallingly common in the U.S., with over two dozen \u2013 mostly women of color \u2013 killed last year and a number more killed just in the time we\u2019ve been making this show,\u201d the AC states. \u201cI know this is an issue the cast is keenly aware of and that we all should be aware of, as well.\u201d<\/p>\n

For all of those reasons, working on Pose\u00a0<\/em>has become a different kind of experience for the many IATSE crew members who are not part of the show\u2019s subject community.<\/p>\n

\u201cTo honor the transgender community with creativity and respect was life-changing in many ways,\u201d Dennis reflects. \u201cWhen your work can change or inspire real lives, it alters your perception of what your responsibilities are as a director of photography: it\u2019s not always just entertainment.\u201d<\/p>\n

Horder-Payton concurs. \u201cOn this show, more than any I\u2019ve done, the driving principle is this idea of love and respect for other human beings. Their community has had to stick together to protect themselves, they have great love and respect for each other, and that comes out all day long. Not just between the actors, but also among the crew. Pose\u00a0<\/em>is the most loving place I\u2019ve ever experienced.\u201d<\/p>\n

Ultimately, Cragg says, the work is changing the world for the better.<\/p>\n

\u201cIt\u2019s introducing millions of people to a sub-culture they had no idea even exists. It put these supposedly marginal people right in people\u2019s living rooms and portrays them as real human beings. That is important and hopefully can make someone\u2019s life better. What more can you ask in telling a story?\u201d<\/p>\n

 <\/p>\n

\"\u201cOn
\u201cOn this show, more than any I’ve done, the driving principle is love and respect for other human beings,” concludes Director Gwyneth Horder-Payton. “Pose is the most loving place I\u2019ve ever experienced.\u201d \/ Photo by JoJo Whilden\/FX<\/figcaption><\/figure>\n

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

Season 1<\/strong><\/p>\n

Directors of Photography: Nelson Cragg, ASC (Episodes 1\/2), Simon Dennis, BSC<\/p>\n

A-Camera Operator\/Steadicam: Mark Schmidt, SOC<\/p>\n

A-Camera 1st AC: Stanley Fernandez<\/p>\n

A-Camera 2nd AC: Christopher Eng<\/p>\n

B-Camera Operator: Brian Jackson<\/p>\n

B-Camera 1st AC: Wesley Hodges<\/p>\n

B-Camera 2nd AC: Corey Licameli<\/p>\n

Loader: Ronnie Wrase<\/p>\n

Additional Loader: Matt Albano<\/p>\n

Still Photographer: JoJo Whilden, SMPSP<\/p>\n

Additional Still Photographers: Elizabeth Fisher, Sarah Shatz, Jeffrey Neira, Eric Liebowitz, Craig Blankenhorn, Michael Parmelee, Jessica Miglio, SMPSP<\/p>\n

Season 2<\/strong><\/p>\n

Directors of Photography: Simon Dennis, BSC, Andrei Bowden Schwartz<\/p>\n

A- Camera Operator: Peter Vietro-Hannum<\/p>\n

A-Camera 1st AC: Damon LeMay<\/p>\n

A-Camera 2nd AC: Amanda Rotzler<\/p>\n

B-Camera Operator: Wylda Bayr\u00f3n<\/p>\n

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

B-Camera 2nd AC: Mike Swearingen<\/p>\n

Loaders: Kristina Lally, Alyssa Longchamp<\/p>\n

Still Photographer: Macall Polay, SMPSP<\/p>\n

Additional Still Photographers: Sarah Shatz, Michael Parmelee<\/p>\n

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

FX\u2019s hit series sashays into Season 2 with more than just creative momentum \u2013\u00a0it\u2019s become a life-changing experience for the many Local 600 members behind the lens. by Margot Carmichael Lester   You could look at the FX hit Pose, whose second season debuted this past June, as simply a terrific story well told. Which it most assuredly is. But that\u2019s only part of the narrative, really. Pose\u2019s first season introduced a world where the very privileged and the very […]<\/p>\n","protected":false},"author":2,"featured_media":9008,"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":[2],"tags":[],"class_list":["post-8987","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features"],"acf":[],"yoast_head":"\nNot Strictly Ballroom - 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\/not-strictly-ballroom\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Not Strictly Ballroom - ICG Magazine\" \/>\n<meta property=\"og:description\" content=\"FX\u2019s hit series sashays into Season 2 with more than just creative momentum \u2013\u00a0it\u2019s become a life-changing experience for the many Local 600 members behind the lens. by Margot Carmichael Lester   You could look at the FX hit Pose, whose second season debuted this past June, as simply a terrific story well told. 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