Tag Archives: Green Screen

Anatomy of a [Not] Green Screen Scene: Orange is the New Black [UPDATED]

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UPDATE (06/16): So I wrote this post in an attempt to understand why this particular set of shots from Orange is the New Black‘s third season looked so weird, presuming that the culprit was to do with a form of composite imaging. It was the most logical explanation, and one that seemed to be supported when breaking down some of the other differences between this shot and the others.

Here’s the thing, though: I had the chance to chat briefly with the show’s post-production producer, who let me know that there is no visual effects work in this sequence. There was no green screen. This shot, like the others in the scene, was shot entirely on location. And so my presumption was wrong, and so I must give thanks for the clarification, and apologies for the erroneous claim (which was based solely on textual evidence).

Unfortunately, there is no further light on why the scene looks so weird despite this, which has turned this into a much larger mystery (if you’re me and in way too deep at this point). Did those who also identified it as green screen—myself included—respond to something particular about the way it was lit or colored? Were those who saw the image I posted on Twitter and agreed that it looked like a case of composite work simply suffering from false confirmation bias from my initial identification, and would they have reached the same conclusion on their own? Were the show’s other uses of green screen—the Afghanistan sequence, the driving plates, etc.—pushing us to see green screen where there was none? Were the other issues with the scene—lighting continuity, blocking continuity—pushing us to look for a reason where no reason exists?

We may never know. In the meantime, let the below remain for posterity as evidence of the time I got so deep into understanding why something looked weird that the rabbit hole nearly swallowed me whole. Apologies again for the error, and for dragging you into what is now a larger question of visual perception that we may never solve—if anyone has any suggestions on what happened here, please let me know.

UPDATE 2: A few Twitter suggestions as to why the shot might look off, diving into more technical details of filming. My thanks to them, and keep ’em coming.

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Screen Shot 2015-06-16 at 2.07.33 PM

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Dollhouse – “The Target”

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“The Target”

February 20th, 2009

When Joss Whedon first introduced the concept of Dollhouse, the show had potential largely based on its philosophical ideas, examining who these actives were, who they are now, and who they could potentially be in the future. In the show’s ostensible pilot of sorts, “Ghost,” we only really dealt with these questions on a surface level: we saw an example of the kind of job that Echo could be given, and a small glimpse into who she once was. But that middle question was left more or less unanswered: while we got some sense of complications with the actives and potential hazards, the philosophical questions (morality, ethics, all of that jazz) were never really investigated.

This is the reason why I’m not sure why “The Target” wasn’t the show’s pilot, because with a little bit more introduction to the key values this is a far more interesting hour of television. Not only was Echo’s “case of the week” far more interesting to watch, but the stakes were higher, and more importantly the people whose lives were at stake were people that we were supposed to care about. This episode, using Boyd’s first days at Dollhouse as a framework, show us a side of Dollhouse that is morally questionable, that raises some important questions both about the security of this process and the transparency of Dollhouse’s leadership, and does a lot more to make me excited about this show and its characters than last week’s comparatively pedestrian offering.

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