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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Louis C.K.'s new show "Louie"

Petri Teittinen said:
Well, no, but the reason I mentioned the shot was because it was so remarkably out-of-focus that it practically lunged out at me. None of the other shots of the same actor in that scene are out-of-focus. I don't think Louis chose it for mood, either. But like I said earlier, I don't envy focus pullers. It's a bloody difficult job and my hat's off to anyone capable of it.
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I must re-confess that I don't see shows during network air. You guys are a show ahead of me. So I'll prepare my psyche. Louie did this (at least) once before during the "Nick Fight", an infamous bit with viral Internet repercussions. Louie took a heavily covered scene and let one of the masters run all the way through, past an embarrassingly out-of-focus shot I never imagined would air. I'm almost looking forward to this new mess to which you allude.
 
The credits say that Louis C.K. edits the show....
Anyone know what he cuts on and the delivery?
 
Paul Koestner said:
I must re-confess that I don't see shows during network air.
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Neither do I; there's no network/channel airing Louie over here. All hail the internet!

I'm almost looking forward to this new mess to which you allude.
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I think "mess" is a bit strong for a single shot lasting a couple of seconds in an episode of 21+ minutes :)
 
I watched the episode, as I mentioned it really just gets better. Yeah no mess Paul lets not be over dramatic here...1 more strike for Alex. :P

Louis does cut the show but there is an assembly editor I believe.
 
My understanding of cinematography took a quantum jump in 1982, when I watched Paul at work. He was lighting a English drawing room comedy, in footcandles, with a Gossen Panlux meter. He checked the sconces with a Spectra Tri-color, I think it was.

We watched the 35mm dailies at a nearby theater.

I had that utterly rare, out of body feeling of watching an actual movie, that I was a part of, for the first time.

I was stunned, and I realized something: that's how movies are made.
 
Douglas Underdahl said:
My understanding of cinematography took a quantum jump in 1982, when I watched Paul at work. He was lighting a English drawing room comedy, in footcandles, with a Gossen Panlux meter. He checked the sconces with a Spectra Tri-color, I think it was.

We watched the 35mm dailies at a nearby theater.

I had that utterly rare, out of body feeling of watching an actual movie, that I was a part of, for the first time.

I was stunned, and I realized something: that's how movies are made.
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See now, Doug, I remember things differently. If I used the tri-color it was a borrowed one, and I never used one again. I still have the Panlux on a shelf (along with other archaic wonders, my favorite being the Weston Master Five). The thing was far too accurate to be of serious value. A technotheist, particularly a green one, could quickly lose sight of the big picture while attempting to tweak a light to fourteen footcandles, the prescribed value, let’s say, for a T2 when using 5297 (I’m taking a wild stab).

Having lit to some theoretical ideal then, I next remember viewing our first batch of dailies and being horrified because my studious attempt to keep light off our set resulted in a depressingly somber look that squashed the humor of our little comedy. We went back and re-shot everything to a cheerier contrast range. I didn’t know what I was doing then, and I sometimes still catch myself wondering.

One guy who did know what he was doing was an undergrad who took a pile of discarded pre-war gear and rebuilt it so a bunch of film students could shoot a story on revered 35mm, using donated short ends and a blimped Arri 2C. Ever since then I’ve been calling this guy Can-Do Doug, and he’s been my Guru. I think I’ve purchased everything he’s ever built for the industry, which most recently included the Seven Jib, a marvelous tool for small productions and used to great effect on “Louie”. It became one of Louie’s favorite toys.

There should be a lesson here or, as I heard at the last Mutual Admiration Society function I attended, we should just get a room.

This is a Red/Louie forum, so I’ll say this: my boss has informed me we’ll be continuing with the Red next season, so I better get used to it. My DIT tells me an Epic is on the way, so I better check it out. Technology comes and goes. The constant is the craft (I spell art with a capital “F”) of storytelling. That having been said, I recognize that I better darn well get with the program when it comes to the state of the present technology. Anybody know anything about these Leica lenses Clay is crowing about, or does that require a new thread?
 
Hey Paul I looked up crowing just to make sure I am doing this correctly...dictionary says
"a characteristic loud cry"...What ever it takes to score Leicas I guess! Maybe it would help if everyone in the camera department started crowing durring a production meeting? I do know these lenses are hard to find as they are just starting to roll out into production, we could always buy a set for 180K.
 
C.H.Haskell said:
Hey Paul I looked up crowing just to make sure I am doing this correctly...dictionary says
"a characteristic loud cry"...What ever it takes to score Leicas I guess! Maybe it would help if everyone in the camera department started crowing durring a production meeting? I do know these lenses are hard to find as they are just starting to roll out into production, we could always buy a set for 180K.
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Yeah, I looked them up on your advice, Clay. I like that they're smaller and still fast. I Don't imagine the name Leica would be a tough sell for Louie. Certainly availability may be an issue. I also wish they had something wider than 18mm.
 
Paul Koestner said:
Thanks for the thread, Brian, and it's my pleasure tossing about my two cents. I expect to earn dividends from you guys before Season Two begins.
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Already has, after reading this thread last week I found them "On Demand" and have been watching them since. I still have a few episodes I have yet to watch but I must say great job to you and all involved. There are a couple good comedies on TV like 30 Rock/Modern Family which I think are really funny, however, Louie is the only show that actually makes me laugh out-loud (ha even when I'm watching it by myself). So ill definitely be watching the second season.
 
Paul Koestner said:
I must re-confess that I don't see shows during network air. You guys are a show ahead of me. So I'll prepare my psyche. Louie did this (at least) once before during the "Nick Fight", an infamous bit with viral Internet repercussions. Louie took a heavily covered scene and let one of the masters run all the way through, past an embarrassingly out-of-focus shot I never imagined would air. I'm almost looking forward to this new mess to which you allude.
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The shot in question is totally forgivable, some (I) would even say complimentary, to the tension and spontaneity of the moment. If you're put out by it, you're probably too concerned with some aesthetic standard which at least is unappreciative of the effort and at worst would seem condescending. Superb show no matter what.
 
Oliver Rabinovitch said:
The shot in question is totally forgivable, some (I) would even say complimentary, to the tension and spontaneity of the moment. If you're put out by it, you're probably too concerned with some aesthetic standard which at least is unappreciative of the effort and at worst would seem condescending. Superb show no matter what.
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Having finally viewed the shot in question, I'll weigh in once more. Yes, it is indeed soft. Not only is it obviously so, but it is then followed by a fairly ungainly cut.

So here's what you might like to know. We shot the bejesus out of that scene (one can occasionally exercise too many available options, given the time), and there is no question that the shot could have been avoided. The question then is, what compelled editorial's use of it?

I haven't the answer. Perhaps Oliver has the best theory, which relates to tension and spontaneity. But again, I hear my father's voice: That's what makes for a horse race. Perhaps I'll seek the answer during Season 2.

I'd still take my AC into the foxhole with me any day.
 
Paul shouldn't you be out on the high seas somewhere sipping back a cold one. You have missed a few exciting announcements. I will be in touch. Smooth sailing to you and the misses.
 
Paul Koestner said:
Having finally viewed the shot in question, I'll weigh in once more. Yes, it is indeed soft. Not only is it obviously so, but it is then followed by a fairly ungainly cut.

So here's what you might like to know. We shot the bejesus out of that scene (one can occasionally exercise too many available options, given the time), and there is no question that the shot could have been avoided. The question then is, what compelled editorial's use of it?

I haven't the answer. Perhaps Oliver has the best theory, which relates to tension and spontaneity. But again, I hear my father's voice: That's what makes for a horse race. Perhaps I'll seek the answer during Season 2.

I'd still take my AC into the foxhole with me any day.
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Hi Paul,

1st - please listen to C.H.. You, Louie & crew deserve a rest. Love everything you're all doing, it's a testament to the transmutive & transformative power of collaborative truth telling.

2nd - My feeling why an editor (like myself) would opt to cut this way as a compliment to tension and spontanety has to do with relieving it & controlling the violence.
I know that just after I've realized I cut my hand in a fight, I feel my sharp, focused anger relax or 'blur'. I also become aware of the pain the adrenaline's been blocking after this 'blur' has set in. Also- I feel something similar if I realize I've cut the other guy.
Of course, this assumes that given to select from only softly focused or ungainly shots for a scence that was shot the bejesus out of, an editor can spot serendipity like this ;).
 
Oliver Rabinovitch said:
Hi Paul,

1st - please listen to C.H.. You, Louie & crew deserve a rest. Love everything you're all doing, it's a testament to the transmutive & transformative power of collaborative truth telling.

2nd - My feeling why an editor (like myself) would opt to cut this way as a compliment to tension and spontanety has to do with relieving it & controlling the violence.
I know that just after I've realized I cut my hand in a fight, I feel my sharp, focused anger relax or 'blur'. I also become aware of the pain the adrenaline's been blocking after this 'blur' has set in. Also- I feel something similar if I realize I've cut the other guy.
Of course, this assumes that given to select from only softly focused or ungainly shots for a scence that was shot the bejesus out of, an editor can spot serendipity like this ;).
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Oh wow, I'll make a note to steer clear of your editing room.
 
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