Shooting with only Sony cameras helped us significantly.ĭuring principal, we were going to work in tight spaces, have splinter units, need resolution for reframes/stabilization/VFX, and still abide by Netflix’s camera requirements. For season three, we had a little over a month between picture lock and the premiere, so every extra hour in post that was spent conforming and matching colors between different camera systems was creative time taken away from us. Working backward, I found that in post, Sony’s gamma and color space is consistent throughout its range of cameras. Markus Mentzer: We move quickly during principal and during post-production. Why did you choose the Sony ecosystem for the show? NFS: You shot this primarily on Sony VENICE and the Sony FX3. You have to be proactive, self-taught, flexible, and open to new ideas and skills, which will serve you extremely well as a freelancer. Hopefully, you will also realize what part of the filmmaking process you enjoy most and pursue that specialty. You will have successes, make mistakes, and you’ll learn from all of it and progress. I would try to find other filmmakers who are currently shooting and editing films, and do everything possible to work with them. Today’s barrier is your ability to form friendships and find a community of people with whom you want to work. To create bigger projects, you can’t go at it alone, you will need help. If you have the drive to become a filmmaker, whether it’s producing or editing or sound, you’ve probably already been creating videos with your phone. Markus Mentzer: When I first started, the barrier to entry without a formal education was getting access to film cameras and shooting with them. I Think You Should Leave with Tim Robinson | Season 3 Official Trailer | Netflix No Film School: I don't believe you went to film school, which is perfect for the No Film School audience! What would be your advice for a beginning filmmaker wanting to get into the field without a formal education? We asked Mentzer how he and his team helped create the iconic moments, from the Eggman Game to the Driving Crooner. On the production side, it’s all done very quickly, with season 3 being shot in just 24 days. The stories take place over dozens of locations. Sometimes the situations are surreal, sometimes they're mundane. I Think You Should Leave has been praised for its originality and its dark humor, but aspiring creatives might also notice the capable camera work and the variety of shooting styles lambasted in each episode.Īs a sketch show, I Think You Should Leave makes fun of reality TV, game shows, commercials, and cinema. You have probably seen some of the show’s highly meme-able moments, like the “pay it forward” drive-thru that backfires horribly, or the commercial for the doggy door that was inspired by the appearance of a Nixon-faced monster. Since 2019, it’s been featured on every season of comedian Tim Robinson’s I Think You Should Leave, which has consistently been some of the most hilarious sketch comedy over the past few years. Chances are, you’ve seen a lot of cinematographer Markus Mentzer’s work.
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