PRODUCTION. I THINK YOU SHOULD LEAVE
Happy with the aesthetics, Mentzer and his team still had to navigate a punishing schedule. “The challenge was the actual speed,” he remarks. “We had over 300 pages of dialogue to shoot in 24 days across 50 locations around LA, with about six hours of shooting time per sketch. The biggest thing was trying to get the crew moved around from place to place – as 95% of the show is shot on location. So gear-wise, we had to keep ourselves as small as possible so we could move quickly. Less is more. “What speeds us up the most from a shooting perspective is being able to pre-rig locations, so we can leapfrog from one set to another. With a tech scout, which wasn’t always a given, we could pass on lighting plans to our two-person rigging crew. We only lit with LEDs on house power for the majority of the shoot, but being able to rig lights overhead in advance let us move around the set more freely, speeding up our day.” Mentzer explains that he opted for the Sony Venice for a few reasons. “We had lots of extra units and cameras,” he notes. “It helps to have one consistent Log and Gamma that was unified throughout
“What speeds us up the most from a shooting perspective is being able to pre-rig locations, so we can leapfrog from one to another”
CHOP AND CHANGE Sony Venice provided a versatile platform, especially with the Rialto system
74. DEFINITIONMAGAZINE.COM
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