Swiss TV series "Tag & Nacht"

[Brian D. Goff]

Shot with RED. Episode 1 now online: http://www.sf.tv/sf1/tagundnacht/website/index.html

 

[Patrick Tresch]

Great steady cam work!

I don't like the blocking (découpage). It's trying to copy american stuff, but it doesn't add sense to the story... I think you'll find the right rythm and speed in the next episode

I wish you a lot of success.

Patrick

 

[I Bloom]

Looking great!

Can you tell us anything about the lenses used, are you the DP. Whose the operator, the Red tech?

This is alot of material for an entire series. What is the post situation?

You need to show this show to Dick Wolfe.
American television is going to get it soon. Red = $$

IBloom

 

[John Tissavary]

Gorgeous work. I love seeing fine camera work / lighting and the quality of Red footage enhancing television drama - can't wait to see that happen more here in the US.

Tresch - by 'decoupage' / 'blocking', do you mean the tendency to shoot through glass and other stuff? Or do you mean blocking in the traditional sense - placement of the actors in the composition? Anyway, I liked both on this episode... but I'm American and accustomed to that style, so.

On a side note... Schweizer-Deutsch always blows my mind (in a nice way). Hoch-Deutsch is my first language, and I spent many years of my youth in Switzerland (Valais) and even though I can follow somewhat, the various canton's dialects can be so strong and varied that they morph into an entirely foreign language. It's like every town has it's own separate language.


Gruetzi,

JT

 

[Brian D. Goff]

Looking great!

Can you tell us anything about the lenses used, are you the DP. Whose the operator, the Red tech?

This is alot of material for an entire series. What is the post situation?

You need to show this show to Dick Wolfe.
American television is going to get it soon. Red = $$

IBloom

The lenses for the first 15 episodes were RED 18-50 and Cooke 20-100 T3. Now we are shooting all with RED lenses 18-50/50-150/300

We have a new director for every 6 episodes, there were 3 DP's: Roli Schmid (also lighting concept for the series); Peter Indergand and for the rest Tobias Dengler, I'm doing all the "ActionCam" shots. We have two REDs shooting, one on ActionCam, one on sticks or hand held.

RED techs are the camera assistants - we're all-rounders here in switzerland

The workflow is like this:

-shot 4k 2:1
-Redline all the material to prores 1080p
-edit in fcp
-grading in color
-out to prores 1080p final

The REDs have been working nearly flawless over the past months, we usually turn them on at 9 in the morning and shut them down at 19h (ok, 45min break for lunch
Cheers
Brian

 

[Brian D. Goff]

Great steady cam work!

I don't like the blocking (découpage). It's trying to copy american stuff, but it doesn't add sense to the story... I think you'll find the right rythm and speed in the next episode

I wish you a lot of success.

Patrick

Hi Patrick

I have US roots, so I guess thats why I like the look and feel of "T&N" I think swiss filmmaking has been to boring over the last decades. The rest of the world has realized, that "packaging" is very important - film is "fast-food" if you really want to go deep, you need to write a book. Films need to appeal optically, I don't think motivation is a priority, that's something for art-films

 

[Daniel Reichenbach]

The camera work and lighting concept are great, but the story, uhhhhhh, why european filmmaker always wanna make a bad copy of Hollywood stuff? The story is confusing, the script not good enough. To many different stories in one sequel.

 

[Brian D. Goff]

i forced myself to watch the whole episode ( forced cuz of the huge differences in the quality of acting in this ensemble) as i wanted to see how red performs under such a fast paced shoot - and i was pleased. EDIT: scrap that last comment..i watched it again and there are many shots with the lens wide open..sorry

What do you mean "lens wide open". The compression of the web video is not good, can't judge the quality of RED by that.