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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 :)

ER on RED...

The first ER episode shot on RED airs tonight on NBC. 15 years on 35mm film, a staple of big time network TV - now on RED

and In other news...

The title effects and spinning globe on the Oscars were shot on RED using a specialized motion control Rig

Moco on the RED has also become another area of considerable adoption - scroll down on this link to see some shots of it in action and some nice things being said about the RED for Moco

http://mrmoco.com/Newsletter/motioncontrolnews110308.htm


Some of you may have seen this link, but if not - here's what one type of Moco on the RED looks like:

http://www.youtube.com/watch?v=9ktZVpE8_zw

And...

The Australian indie movie “The Combination” shot on RED premiered in Australia a few days ago, to many sold out houses, and has gotten great reviews and a significant amount of press:

http://www.thecombination.com.au/

http://www.thecombination.com.au/news/

And...

S.Darko, shot on RED - the sequel to the cult hit Donnie Darko is completed and looks fantastic - trailer can be seen here:

http://www.sdarko.com/

and those are just a few of the interesting things happening all over the world. 100s of movies of all nature and scope from really big budget to modest budget, TV shows, tons of commercials and music videos and documentary and nature programing, there is so much RED being shot and in post production right now it's literally too much to even attempt to keep track of.

Who would have thought it a few years ago when it was just what seemed like a really good idea starting to take shape :-)

And David Mullen is pretty close to right on the money with his predictions on why ER moved to RED after being on film for so many years - The pilot for their next show for NBC, (now picked up for series) was shot all on RED, they were very pleased with the results and wanted to take ER over to RED as well, to see how much would have to change from their existing production and post routine... the results speak for themselves as all the remaining episodes of this last season are now being shot on RED.

+ Ted
 
Lawrence Karman said:
Think I heard the same producers used the RED on a pilot for their new series. The real truth is probably WB politics. Since the RED is digital it allows them to work under the AFTRA contract, not SAG, and they are testing it out with the thought of shifting all WB lot production to digital. It's a club against the SAG.
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This is not the first time Ive heard this rumor, but the first Im hearing of it on reduser. I dont know the particulars of the SAG/AFTRA contracts, but it does seem to be a way for producers to isolate themselves from SAGs apparent internal combustion. This year will prove to be interesting for digitally-acquired production.
 
from my understanding of the SAG contract, shooting with red instead of film allows you to opt out of sag....get ready for the flood gates to open boys!
 
kosmos3d said:
from my understanding of the SAG contract, shooting with red instead of film allows you to opt out of sag....get ready for the flood gates to open boys!
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It's not quite that simplistic. An existing production under a SAG contract cannot nullify that contract, regardless of what they are shooting on. New productions have an option in that they can shoot on film and sign with SAG, or shoot on anything else and sign with either SAG or AFTRA. SAG's jurisdiction over film originated programming is exclusive, but jurisdiction over electronically captured programming is shared. Red is but one option in that group, many shows are already being shot on devices such as the F900 (just about every sitcom on the air), F23 (Gossip Girl, Dexter, Everybody Hates Chris, and a number of others), Genesis (United States of Tara, Smallville, Law and Order, and numerous others), and others, and have been for some time now. The "floodgates" are already wide open, as almost 80% of pilots this season will be shot using digital cameras, under AFTRA contracts - using all of the devices I just mentioned and more.
 
Brook, what the heck man! You forgot to give us the heads up. :nerd:

I actually caught it, felt there was something going on, that it looked a bit different... but was too scared to make any claims. If I knew it was shot on Red I would have watched the whole thing instead of passing out with a glass of wine. :blush:

They did a great job of not clipping the highlights too hard, but then again they always clipped the shadows quite hard so they must have exposed to the right and used a bunch more DR for the highlights... could that be the case?

And if you want to use a SAG actor you need to make your production signatory. Most good trained actors are SAG. I think the flood gates may open further once FF35 comes out with even more dynamic range.
 
USlatin said:
And if you want to use a SAG actor you need to make your production signatory. Most good trained actors are SAG.
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All SAG actors are allowed to have dual affiliation with AFTRA, and are permitted to work under either contract once affiliated. I'm not sure of the current exact figures, but well over 10,000 actors have dual affiliation.

I think the flood gates may open further once FF35 comes out with even more dynamic range.
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Personally, I don't think that will have any impact on television production. Features, perhaps. Even if the dynamic range is superior, there is a limit to what is actually needed and useful, especially for television finishing. And with the larger sensor comes the need for less easily available glass (in particular, more expensive and less flexible zooms) and even more precision in focus pulling - two things that are not particularly attractive to a type of production that is rather demanding in its daily page counts. Just my opinion, though.
 
Just because the FF35 can shoot 6K doesn't mean you have to all the time. 5K will work with the PL glass and you have the better DR to work with. Not to mention higher fps.


mmost said:
All SAG actors are allowed to have dual affiliation with AFTRA, and are permitted to work under either contract once affiliated. I'm not sure of the current exact figures, but well over 10,000 actors have dual affiliation.



Personally, I don't think that will have any impact on television production. Features, perhaps. Even if the dynamic range is superior, there is a limit to what is actually needed and useful, especially for television finishing. And with the larger sensor comes the need for less easily available glass (in particular, more expensive and less flexible zooms) and even more precision in focus pulling - two things that are not particularly attractive to a type of production that is rather demanding in its daily page counts. Just my opinion, though.
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Ted, looks like those demos at Warner Bros. worked out for the best.
 
That's awesome news. I'll be tuning in.

Brook! That's awesome! Long way since "Sophisticates" and goof off slo-mo tests during lunch.
 
An interesting note on how the show was graded: you'll see a lot of clipped highlights and crushed shadows. Those of you who watch the show will recognize the look, but to those viewing it with a strictly technical eye... that's all in the grade. :)

I'll post some technical details about how we shot the show [etc.] when I get permission.
 
I watched most of the episode on my 47" Sony Bravia 1080P set, from the over-the-air digital HDTV signal...

It matched the look of the previous episodes pretty well, judging from the clips from the previous episodes at the head of the broadcast.

I did notice the now distinctive (to me) blue channel noise in the blacks in that shot looking from the inside of the locker out, and a couple of other shots, but it was minimal -- I only really was thinking of it in comparison to the film clips beforehand. Instead of the moving faint grain pattern that the previous episodes had, there was more of a faint "frozen blocky noise" look in flat areas, perhaps due to broadcast compression, I don't know.

Overall, like I said, it was a fairly good match to what went on before, but on the other hand, I can't really say the show now looks any better.
 
mmost said:
And with the larger sensor comes the need for less easily available glass...
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Agreed. This is a huge factor.
mmost said:
...and even more precision in focus pulling
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I think that's a slight oversimplification. In ample light, one can get the advantages of the larger sensor without any change in DOF by stopping down. It's only in low light where you have to choose between:

* Same quality with same DOF.
* Better quality with thinner DOF.


Myth busted: larger sensors have thinner DOF.
 
There is nothing stopping you from shooting S35 on the FF35 sensor. And if you want the full FF35 sensor for "special stuff" or stills... it is there. The FF35 will be the Monstro sensor, which has more DNR and higher sensitivity (larger pixels and new design). Even with the cost increase, it makes a compelling choice when it becomes available.

Jim
 
I think it's a promising idea, to be able to switch to FF35 for wide shots where you want more resolution, etc. -- the only practical issue for me is that you'd want the S35 lenses and the FF35 lenses to have the same lens mount, which I guess may mean getting some still lenses that cover FF35 switched to a PL-mount.
 
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