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

[C.H.Haskell]

Paul K! Miss you mate...hope all is well! Lets have a beer when I get back to the city. Nice work on season 3, keep it up you old salt. ;)

[Filip Orlandic]

There is a nice article about this show in July's Digital Video Magazine.

[Paul Koestner]

Yes, on Louie's Epic. And you're going to wince, but Louie gave a serious thought to buying an Alexa. I'm pretty sure he made the right move getting an Epic instead. It certainly felt like the right camera for what we as a small crew were looking for.

[Paul Koestner]

Hey Clay! When are we getting together so I can repay you in Pain Killers all those Red Lessons you gave me?

[Paul Koestner]

Hey Nick! Yeah we' don't use up a lot of real estate. Louie likes to keep things lean and, er, friendly.

[Paul Koestner]

I just finished watching the 2nd season and all I can say is "wow". I was hooked after the first season but the 2nd season blows the 1st out of the water. So happy to hear season 3 is underway, I wish you guys the best of luck on this season. I had a friend day play on one of the episodes as a steadicam op/ac (think it was the episode where Louie sees the bum get hit by a car). He had nothing but good things to say about the crew and cast.

I heard somewhere that Louie even operates from time to time, that true? Would love to hear how involved he is with Paul and how you guys go about getting the "look" for Louie.

Louie does operate, Brandon, whenever he's not in a scene, which is somewhat rare. It's actually fun to hand the camera over to him, and frankly it makes perfect sense when he's directing a scene "from the hip", as it were. Why sit there and try to tell me what he's thinking, or whisper in my ear when I'm zigging and he'd rather I zag? Put it on his shoulder and he'll get what he wants without the middleman. We're hearing a lot about those people in his life these days, aren't we?

[Hudson Tanimoto]

I have to say the look of season 3 is noticeably different from season 1 and 2. Great tonal range, and a punchier image. Almost makes some of S1 look DSLR-like in comparison. Skin tones are better, night shots look a lot more natural. The scenes in the Comedy Cellar have heaps of shadow detail. I am constantly amazed how well this show is shot, especially reading in this thread about what you guys have to deal with (shooting T1.3 with no rehearsals, for example)

[Samuel Gursky]

can't believe that I didn't find this thread sooner! this is currently one of my favorite shows on television. Me and my girlfriend were actually chatting about how this season has been very different thus far though, it seems much less raw (specifically as far as lighting is concerned). Was this a conscious effort that was made to differentiate this season from the rest, or just what the setups have presented you with thus far?

[Brandon J.F.]

I have to say the look of season 3 is noticeably different from season 1 and 2. Great tonal range, and a punchier image. Almost makes some of S1 look DSLR-like in comparison. Skin tones are better, night shots look a lot more natural. The scenes in the Comedy Cellar have heaps of shadow detail. I am constantly amazed how well this show is shot, especially reading in this thread about what you guys have to deal with (shooting T1.3 with no rehearsals, for example)

I agree. I noticed immediately how much better the show looks this season.

[Paul Koestner]

can't believe that I didn't find this thread sooner! this is currently one of my favorite shows on television. Me and my girlfriend were actually chatting about how this season has been very different thus far though, it seems much less raw (specifically as far as lighting is concerned). Was this a conscious effort that was made to differentiate this season from the rest, or just what the setups have presented you with thus far?

Gosh, I really don't know the answer to to this one. On the one hand, I guess I'm happy the show seems to be improving visually. On the other, the English major in me interprets this message as "last season looked a lot worse."

If anything, this season I've followed more diligently than ever Louie's dictum to keep it simple, and do as little lighting augmentation as possible. Historically, other than when working on documentaries and reality-type shows, I'd never just enter a location, turn on the camera and hit the record button. But given the dynamic range of the new generation of cameras, and our use of high speed primes from quality venders, I will start the day on a set by putting the camera up and turning it on. Naturally, given the scenes requirements, we're looking for existing light that will be kind to us.

What is different this year? We're using Louie's Epic, as opposed to a Red One. We're also mixing it up a bit between Louie's Ultra Prime set and his Panchros. Mostly Ultras, but then I think last year was the same deal. And regarding lens choice, Louie and the camera crew (who all have keen eyes) have come to barely tolerate my opinion on glass. Unless you show me a split-screen comparison, I couldn't tell if the picture I'm looking at was generated through a Master Prime, Ultra Prime, S4, Panchro, Optimo... And I'll bet I could make some money on it if I were of the wagering type. You've heard enough from me by now. What's my zodiacal sign? I'll give you eight guesses.

We're working with the same colorist at the same post house since Season 1. I will say that our post production workflow education has been a slow and painful one. I half wonder if technical changes have rendered a tidier picture. Or maybe Louie's learning curve with the software is resulting in better color rendering.

Or maybe we're in nicer locations this season. Or our evolving use of movement feels more picturesque. Or maybe the stories are getting more interesting, so we project more production value upon the content. I tend to be suspicious of critiques, even complimentary ones, that I can't explain without reliable empirical data. This is the same sensor as last year. Less compression, maybe? The post that follows this one mentions tonal range. Maybe because we're doing more existing light stuff we're seeing more contrast this year. Certainly I feel more comfortable with the technology now, knowing that there will be detail and not noise in the shadows. And Louie will hardly countenance a bounce card anymore.

Any of this make sense? Or, as my dad used to say, am I just pissing in the wind?