Tag Archives: Orange is the New Black

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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The Orange is the New Black Rule: Emmys Rule Change Has Clear Target, Unclear Results

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Orange is the New Black competed as a Comedy at the 2014 Writer’s Guild Awards. It then competed as a Drama at the 2014 Screen Actors Guild and Golden Globe Awards. It then competed as a Comedy at the Critics’ Choice Television Awards and the 2014 Emmy Awards, before eventually winning its first major awards at the 2015 Screen Actors Guild awards competing as a Comedy.

This happened because the system allowed it to. Regardless of whether or not we believe Orange is the New Black is a drama or a comedy, the distinction was more or less up to Netflix, who consciously positioned it as a comedy in part to reduce competition with its other major awards contender, House of Cards. I would argue the show is unequivocally structured as a dramatic series, but that didn’t matter, because the system has no qualitative measure to change this. Over this same period, Showtime’s Shameless made a similar switch late in its run, petitioning to become a comedy (and earning William H. Macy an Emmy nomination and Screen Actors Guild win in the process); Gilmore Girls did the same late in its run, trying desperately but failing to earn Lauren Graham a nomination.

I feel pretty safe in saying that Orange is the New Black and its “category fraud” are the impetus behind an Academy rule change announced today that labels half-hour series as comedies and hour-long series as dramas. While Shameless’ category switch is likely a contributing factor, I feel comfortable calling this the Orange is the New Black rule, directly targeting a series that I would tend to agree is committing category fraud based on the objective facts of the show itself.

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