Mentzer: I have a collection of maybe 10 LUTs that I use for the show. Did you have a multitude of LUTs so that those proxies that were going straight from the camera to editorial were closer to your final intent? At times you’re imitating reality shows, game shows or pharmaceutical ads. We have limited resources in terms of crew, even on the post side, so that just speeds everything up.įilmmaker: You have so many different looks in a season. One advantage of the Sony Venice is that we can record in-camera proxies and send them straight to editorial. Mentzer: For season one we used a Red Helium.
Has it been a similar setup for all the seasons? They spend a lot of time figuring out what feels right.įilmmaker: You had two Sony Venice cameras, then a Sony FX3 as your C camera for season three. I’m not involved in that, but from my understanding that curating process takes a long time, because the rhythm of the show determines each episode. Mentzer: They don’t curate it until they cut everything together. The sketches have so much detail in them that any kind of ad-libbing can destroy the logic.įilmmaker: In prep, do you know which sketches will be in which episode, or is that determined in post? But when you look at the scripts and then look at the way the show turns out, it’s all really. We do it just because it’s fun and gets everyone in a rhythm and maybe something interesting will pop out of it. Mentzer: There is a lot of ad-libbing, but, honestly, not much of it gets used. Sometimes a director might think they’re not directing one week, then suddenly they find out that they need to shoot tomorrow, or now they’re doing two sketches back-to-back on the same day instead of one.įilmmaker: Is the show pretty tightly scripted? Is there much ad-libbing? Then the schedule is based on locations and casting and other factors, and it’s constantly moving. Mentzer: Tim, Zach and Alice Mathias-who’s our lead director-break down who should direct each sketch early on in prep. So, it’s not like one director comes in and shoots their episode of sketches, then another rotates in. The crew works incredibly hard.įilmmaker: Each episode has anywhere from two to four directors listed in the credits. What we’ve figured out after three seasons is that if we have a location that we like, we try to find another location that’s, like, next door because company moves are pretty brutal on our schedule. It just makes things feel very grounded and real. That’s partially budget, but also Tim Robinson and Zach Kanin like to be in real locations. Mentzer: I’d say 90% of it is on location. On average, I’d say we had between six and eight hours to shoot each sketch, but there were a bunch of sketches that were full-day sketches.įilmmaker: How much of the show is practical locations and how much is stage work? Mentzer: We had 24 days to shoot all of them. So, it’s about 90 minutes total of show, but that includes somewhere between 25 and 30 sketches. I’m shot already.” įilmmaker: What is the shooting schedule like on I Think You Should Leave? There’s six episodes and they’re each around 15 minutes long. I think I was like an hour late and I thought, “I’m never going to make it in this business. I remember on my first day I couldn’t find the stage because I was pretty new to L.A. In the film days, when the trucks were parked around the block, at the very least they needed somebody to run mags back and forth. and when they did the reshoots they needed a runner. It was the same crew that had done, but they were all from L.A. Mentzer: It was, but they had a bunch of reshoots in L.A. My first loading gigs were non-union jobs in New York and in L.A., then The Manchurian Candidate was my first union loading job.įilmmaker: Wasn’t Out of Time shot down in Florida?
TIM POOL TIME MAGAZINE FREE
In the Cut and Out of Time were both just free camera internships. I started out by working at Panavision New York and, while I was there, began doing free internships and worked my way up the chain. How did you get those first jobs? Did you go to film school? Not the best films by any of them, but still impressive company to start out your career with. When you’re slopping up steaks or shooting body after body busting out of cheap wood and hitting pavement, probably wise not to linger at a location for too long.Ĭinematographer Markus Mentzer, who has been behind the camera for all three seasons of the Netflix show, breaks down the newest crop of sketches for Filmmaker.įilmmaker: Your first three camera department credits on IMDB are Out of Time, In the Cut and The Manchurian Candidate-so films by Carl Franklin, Jane Campion and Jonathan Demme. With only 24 days to capture nearly 30 sketches, the average I Think You Should Leave bit is shot in roughly six to eight hours.
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