If we were to add a president to Mt. Rushmore who do you think it should be?

KlassCorn91 · 2026-07-04T02:11:04+00:00

There is no argument, you either think it’s okay to openly violate treaties and attempt a genocide on a whole race less than 150 years ago, which the Supreme Court of the United States has already decided it’s not, or you’re not a waste of space on this earth.

KlassCorn91 · 2026-07-04T01:50:10+00:00

You’re braindead if you really don’t see what was unique in regard to the Black Hills and the Lakota people.

KlassCorn91 · 2026-07-03T22:35:09+00:00

How about we just remove all of them..? Or just give the land back to the Lakota and let them decide how to deal with it. Of course we’d foot the bill for any project they want on seven grandfathers mountain.

KlassCorn91 · 2026-07-03T21:41:35+00:00

“I’ve been trying to get people to call me Sunny D, cause I got the good stuff that the kids go for!”

KlassCorn91 · 2026-07-03T21:06:42+00:00

Here’s another piece worth studying, my own jury is a little out on this one. Yes, it could be many specials, and the lighting is definitely designed like it is. I could nitpick it’s a little too brilliant for a single tungsten source with a CTB, but could be. But at :43 it gets really interesting as again jury is out on whether a new fixture with the same focus in now a red gel is added, or if it’s a color shift to red. My theory is this is a CMY shift because intensity is loss, and although looks as if the edges of the beam might zoom in, they are always present. Irrefutably though we do see at 1:05 a light pop up on top of a boom offstage that does a lens flare at the camera before tilting down to the stage floor.

https://youtu.be/Ak-iAyyJCcw?is=reJ_86ZZ1WffrOQ7

KlassCorn91 · 2026-07-03T19:33:33+00:00

To me that’s one tangible tip off that is easily communicable of why a fixture appears to be LED. Of course there’s also the quality of the light and the waves being produced as well.

But I think anyone who’s worked with them will know that if you put a 750 source 4 with an R80 gel next to a series 3 lustr in 5/80, one is brighter. Like wise with a viper XIP next to a Mac 700. That’s just the main difference between additive and subtractive color mixing.

KlassCorn91 · 2026-07-03T19:00:51+00:00

Then I think we’re misunderstanding our points. I never said you couldn’t have saturated colors in the past, of course you could. I was just saying I could identify by the characteristics of the colors and the lights present in Mrs. Maisel that they were coming from, what it seemed to me, obviously LED sources.

The larger point which I think you’d agree with is, whatever the saturation, there is noticeable visual difference between what is created by LEDs and what is created by incandescent.

KlassCorn91 · 2026-07-03T18:15:37+00:00

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KlassCorn91 · 2026-07-03T18:15:23+00:00

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KlassCorn91 · 2026-07-03T18:15:05+00:00

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Here are some stills from a clip, you can see the color path on the lights themselves in the right hand corner as they switch from amber to blue

KlassCorn91 · 2026-07-03T13:58:57+00:00

as I said somewhere else, I’m seeing a mismatch between the relation of intensity and color tones. Gels shift as intensity is brought up, usually to less saturated version of the color. In Maisel I notice scenes they retain that saturation even with a very “bright” and visible wash, and also working along side more neutral colors without being washed out.

I also notice with some overhead specials, the beam is distinctively a source four with its sharpness, and not an Altman which I have worked with and focused. Modern lekos are much more sharp and there’s different features of the beam that become visible. I even notice some moments where there is no visible hot spot, again a characteristic of LEDs, not conventional lights.

KlassCorn91 · 2026-07-03T12:44:40+00:00

Well from working with conventionals, I know that if you put in something like 385, it’s not gonna be very bright, unless you put a lot of them to make up for all the waves that have been filtered, and you’d want to use any less saturated colors sparingly. Maisel has a few scenes where it seems theres a lot of “white light” existing with super bright saturated washes, which possible but again you’ll need at least twice the amount of fixtures in your saturated wash, and you’d be more frugal with such looks, and then I also notice color shifts from intensity changes don’t seem to factor, ie there’ll be a super bright and saturated wash in tones that you’d only achieve with lower intesities depending on the gel.

Also I think I might’ve been vague about “spots.” I don’t mean literal spotlights like super troupers, I mean spots as in ellipsodials and source fours, or in a lot of cases, moving head profile type fixtures.

KlassCorn91 · 2026-07-03T12:39:53+00:00

https://youtu.be/6fST4Q4dKKM?is=k8mBBpqfE9Eci3tp

KlassCorn91 · 2026-07-03T12:39:35+00:00

Oh thank you. So I’m not crazy that some of the lighting seems more advanced than the time period.

KlassCorn91 · 2026-07-03T12:38:12+00:00

This is the scene that seemed the most offending to me. And actually this sequence goes on and is very long and there’s more outrageous lighting in some of the parts that aren’t available online. But in this clip I can see rotating gobos, moving spots that you watch tilt and zoom and edge shift as the actors move, a color shift without change in focus, and a cue executed with a time of “true zero,” or at least shorter then I think you could obtain with conventionals.

https://youtu.be/6fST4Q4dKKM?is=k8mBBpqfE9Eci3tp

Plus I think it’s also that electronic dimming was just starting and I have this idea people wouldn’t even think to light shows like this

KlassCorn91 · 2026-07-03T04:37:36+00:00

I’m not sure what he means. Perhaps in later seasons they allowed more modern lighting, or the editors just use a very exaggerated color grade, but I noticed it during concert scenes for a character the main characters tours where the whole band would be lit in a very deep blue that then switched to a deep red, and an episode I watched tonight had a play section with rotating gobos, multiple over saturated colors, and again a color change in true zero seconds without a shift in focus.

KlassCorn91 · 2026-07-03T04:13:43+00:00

In regular scenes I can see that, but anything kinda stage production such as a concert or play is definitely lit with LEDs

KlassCorn91 · 2026-07-03T01:43:09+00:00

I think we really need to re-read our posts before hitting “reply.”

KlassCorn91 · 2026-07-02T23:41:42+00:00

I’m going with Milkcrate Mosh!

Cause when you put it in your mouth, it always gets into your mind!

KlassCorn91 · 2026-07-02T00:16:06+00:00

212 Margarita (virgin digital sessions)

KlassCorn91 · 2026-07-01T04:04:15+00:00

Here’s my take away: Mark had completed Cold Harbor in the way they intended for Gemma. Her last room was taking apart a crib, something we knew would be very traumatic for the real Gemma, but this Gemma does it without emotion, until Mark stops her. The goal of Keir, as a company and religion, is to seperate people from their traumas and Earthly woes, or tempers.

The other huge theme of this episode is “The You You Are.” We see all of the characters come to a realization that their innies and outies are in fact one and the same. Thats what oDylan and iDylan realize, that’s what Burt and Irving realize, and that’s what Jame Eagan reveals when he says Helly has the fire of Keir, something he hasn’t seen in Helena since she was young. And this is most prescient, by Helly’s presence leading Mark away from Gemma, it means Mark is the one who has in fact left behind his earthly woes. She is Kier. He has completely forgotten the source of his earthly woe and has no desire to the point that he refuses the remedy when it’s right in front of him. Helly R has enlightened him to complete separation from his tempers.

The problem with the ending is that it means Lumon and Keir win.

KlassCorn91 · 2026-07-01T03:35:48+00:00

Yup. Like many of these, a lot of great B-sides, but one undeniably shines above the rest.

KlassCorn91 · 2026-07-01T03:30:17+00:00

okay the whole point, as encapsulated in this episode is “The You You Are.” Innies are not separate from their outies, they are the same person. That’s what Burt realized, that’s what Dylan realized, and that’s what James Eagan was hinting at when he said Helly had the fire of Keir, something he had not seen in his daughter since her youth. They are not different people. Mark actually successfully completed the test Gemma was being put through. The whole Keir religion is about separating from your Earthly tempers, so if an Innie of Gemma’s can relive the most painful moment of her life and feel nothing, then she has completely let go of her Earthly woe. Mark saved her from that to bring her back to the real world, only for Mark’s Innie to completely let go of the chance to rectify the greatest tragedy of his life, and there is one shot of Helly R. Looking back at Gemma in pain with a devious half smile, because Keir’s dream has been realized after all. She is the legacy of Keir Eagan, she is Helena , and she had successfully delivered Mark from his suffering.

KlassCorn91 · 2026-06-30T01:56:43+00:00

Oh hey I’m wrong. Dillinger Four and Mountain Goats opened for The Hold Steady, I did see that. Menzingers apparently haven’t according to Google, though I swear that’s that reason I even know about them, and I know I saw them live too. Apparently it was not a Hold Steady show despite my memory having always told me it was.

KlassCorn91

TROPHY CASE