I THINK YOU SHOULD LEAVE PRODUCTION.
BEST OF BOTH The Angénieux Optimo Ultra zoom was used to achieve a prime-style look with fewer lens changes
the show. At times we had a second unit and additional cameras, such as Sony FX3s, FX6s and A7S IIIs. All of that mixes in with the Venice – which can also get really small with the Rialto set-up. That lets us jam into small offices and cars. “Furthermore, the Venice lets you record proxies. We don’t have the benefit of a big, traditional lab. The proxies recorded in-camera with burned-in looks go straight to editorial, so they can use it for post. That combo saved us money. “Every single sketch has a new look;
going to get rehearsals in advance. It helps to come into a location roughly blocked in and ready to shoot – its the only way we can meet our schedule.” I Think You Should Leave may be a run- and-gun-style production, but it’s far from guerrilla filmmaking, with no expense spared on production quality. “We also shot in 6K because we do a lot of resizing and stabilising in post,” Mentzer says. “We don’t always have time for traditional close-ups, and they need to punch in or do digital zooms on medium shots. So the lenses need to be sharp enough for them to crop in if need be.” The show has VFX, too, and one challenge Mentzer and his team faced was on a sketch called Metal Motto, which they shot on four cameras. However, a number of them ended up in frame. “We had to paint out a Technocrane from the shot,” he explains. “There was also a GoPro built into the helmet of the costume, but through that you see the rest of the set. The main cameras are cross- shooting quite a bit too so we may see the other camera in those shots. Then there’s also a stunt person hanging off a wire rig; that had to be painted out too.” The third season of I Think You Should Leave with Tim Robinson debuted 30 May. Mentzer says it’s the best one yet. Watch I Think You Should Leave with Tim Robinson on Netflix
they all have different aspect ratios,” Mentzer adds. “There’s no set aesthetic for the show. Tim and Zach want every character and sketch to be different. We figure out in prep what tone they want in each sketch, and then choose looks, locations and aspect ratios to fit that. We are flexible on the day, but we also know that we’re not
VARIETY SHOW With no defined overarching look for the series, tones, aspect ratios and other elements were decided upon on a sketch-by-sketch basis
75. AUGUST 2023
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