Variety shines a light on the teams you may have missed this Emmys season.
“Abbott Elementary”
Camera Operators
As fans of “The Office” know, half of the humor of a mockumentary is the camera angles, swiftly cut-ting to a reaction shot or zoom-ing in on a ridiculous moment. The cameras on ABC’s “Abbott Elementary” never miss a beat, and the operators feel like just another hilarious scene partner. — Sasha Urban
“The Great”
Food Designer
Food, sumptuous food. “The Great’s” second season served up a feast fit for royal banquets. Peter (Nicholas Hoult) and Catherine (Elle Fanning) ate their way through the Hulu show. It’s creator Tony McNamara who decides what goes on that table and production designer Francesca Di Mottola and her team who come up with the squirrels and rats and other meaty things that the cast have to eat. — Jazz Tangcay
“Legendary”
Emcee
The category is … fabulous emcees!
“Abbott Elementary”
Camera Operators
As fans of “The Office” know, half of the humor of a mockumentary is the camera angles, swiftly cut-ting to a reaction shot or zoom-ing in on a ridiculous moment. The cameras on ABC’s “Abbott Elementary” never miss a beat, and the operators feel like just another hilarious scene partner. — Sasha Urban
“The Great”
Food Designer
Food, sumptuous food. “The Great’s” second season served up a feast fit for royal banquets. Peter (Nicholas Hoult) and Catherine (Elle Fanning) ate their way through the Hulu show. It’s creator Tony McNamara who decides what goes on that table and production designer Francesca Di Mottola and her team who come up with the squirrels and rats and other meaty things that the cast have to eat. — Jazz Tangcay
“Legendary”
Emcee
The category is … fabulous emcees!
- 6/22/2022
- by Sasha Urban, Jazz Tangcay, Carole Horst, Carson Burton and Wilson Chapman
- Variety Film + TV
Lighting was a key part of the second season of Jemaine Clement’s mockumentary series “What We Do in the Shadows,” about a pack of vampires on Staten Island, which returned April 15 via FX, and airs on Hulu the following day.
Cinematographer D.J. Stipsen shot most of the show’s first season as well as the 2014 film on which the series is based. He knew that the second episode of Season 2, which features a ghost infestation in which the spirits have a glowing, spectral appearance, would require additional illumination. By chance, CG supervisor Leo Bovell had stumbled across a behind-the-scenes photo from “Ghostbusters” of an actor wearing an Led suit, which led to the use of Astera lighting tubes that were sewn into the costumes and easily controlled by board operators to provide the effects required.
The Astera tubes came in particularly handy in Episode 3 as well, when the vampire...
Cinematographer D.J. Stipsen shot most of the show’s first season as well as the 2014 film on which the series is based. He knew that the second episode of Season 2, which features a ghost infestation in which the spirits have a glowing, spectral appearance, would require additional illumination. By chance, CG supervisor Leo Bovell had stumbled across a behind-the-scenes photo from “Ghostbusters” of an actor wearing an Led suit, which led to the use of Astera lighting tubes that were sewn into the costumes and easily controlled by board operators to provide the effects required.
The Astera tubes came in particularly handy in Episode 3 as well, when the vampire...
- 4/23/2020
- by Jazz Tangcay
- Variety Film + TV
The cinematographer behind FX comedy What We Do in the Shadows, D.J. Stipsen would have been “petrified” by the prospect of shooting the series, had he not already collaborated with Jemaine Clement and Taika Waititi on a 2014 film of the same name.
Following vampire roommates, as they cope with the mundane tasks of modern life, the feature was a “baptism by fire” for Stipsen, who learned in the process “exactly how to shoot a mockumentary that was loaded with stunts, wire work and VFX.”
Transplanting its vampires from Wellington, New Zealand to Staten Island, Clement’s TV adaptation of Shadows offered the opportunity to expand a hilarious and cinematic world, further refining a style Stipsen previously worked hard to master, while being even more ambitious, on a visual level.
“I realized I could take all those skills that I’d honed on the film and use them on the series,...
Following vampire roommates, as they cope with the mundane tasks of modern life, the feature was a “baptism by fire” for Stipsen, who learned in the process “exactly how to shoot a mockumentary that was loaded with stunts, wire work and VFX.”
Transplanting its vampires from Wellington, New Zealand to Staten Island, Clement’s TV adaptation of Shadows offered the opportunity to expand a hilarious and cinematic world, further refining a style Stipsen previously worked hard to master, while being even more ambitious, on a visual level.
“I realized I could take all those skills that I’d honed on the film and use them on the series,...
- 8/23/2019
- by Matt Grobar
- Deadline Film + TV
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