HELP NEW TV SHOW (RED or Arri 2k or 16mm)

[Mike Shugrue]

You did not mention "How much you have per week for the pilot"
I am guessing you need 2 cameras. F-35,D-21,F23,Genesis are getting approx 15-30k per week. Reds less( 6k-15k) all depends on lenses and accessories. Most pilots in the US and Canada are going requesting these cameras this year. If post is a issue you have the other option of Vipers and HPX-3000,3700's. I think you will find more Reds around for rental options.
Post will eat up your savings on transfer costs on 16mm. Tapeless will save time and $$$ with what ever system you have. Also whats very helpful is a program called Route 6 - developed in the UK, Met them at NAB great product.

 

[Gavin Greenwalt]

Why not just go to your preferred rental house and line them up for a comparison shot?

 

[Zakaree Sandberg]

Go genesis or RED.
genesis has a real glossy look.

d20-d21 are monster cameras (not saying genesis isnt, but I think you would be happier with the Genesis look)

 

[David Mullen ASC]

"Supernatural" is being shot on the Arri-D21 and RED cameras. They apparently intercut well.

Of course, since an Arri-D21 would have to be coupled with a recorder, usually a SRW1 deck, it's not a cheap rental, in the same ballpark as the F23, Genesis.

For me, it's mainly an issue of weight versus sensitivity / lower noise in tungsten light.

The F23, F35, and Genesis all perform better (less noise) in low light levels at 3200K than do the Arri-D21 and RED, but the RED is the smallest and lightest in the bunch (and the cheapest to rent), and the Arri is the only one that has an optical viewfinder (and the only one with a 4x3 sensor if you want to record data). All those SRW1 combo cameras (F23, F35, Genesis) are expensive and heavy. So it may come down to what your priorities are, assuming all are within your budget.

If mobility and a small camera crew are a high priority, and a cheap enough rental to allow more bodies to be rented, then perhaps the RED is the best choice for a TV series. If delivering an HD tape at the end of the day for a common HD tape workflow is important, and you have a lot of really low-light work that has to be at 3200K balance, then perhaps the F23, F35, Genesis would be a better choice, assuming you can work with the size & weight issues.

If you are in the U.K., you might check out "Wallender", which used the RED camera.

The RED data-based workflow is becoming less of an issue now that so many post houses are getting experienced with it. But you still find some TV post people and executives who are nervous about it.

 

[Bob Torrance]

Another recording option for D21 as well as F23/F35 is S-two's new OB-1 data recorder. It's a small file based recorder that records Arri-RAW as well as dual-link 444 HD from the Sony cameras. Not sure if you can get them yet but it is very nice (and small). Goes on the camera.

RED is also rewriting their color rendering software to improve the tungsten performance of their chip. (see the "test pilot" thread on reduser). Many options.

Bob Torrance

 

[David Mullen ASC]

Just to be clear, I think the noise performance of the RED in tungsten light at normal ASA ratings is fine... I'm only talking about those emergency situations where you find yourself having to use a very high ASA rating for available light shooting, and that situation is naturally 3200K, if not much lower due to sodium streetlamps, candles, etc. I've seen plenty of regular night work on TV shows shot on the RED that are fine, noise-wise, even when shot at 3200K.