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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 :)

RED BTS: Uncle Toad's Media Group

Jarred Land

Jarred Land

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Uncle Toad's have developed a pretty incredible RED workflow.. Capturing a ton of footage in remote locations and turning it around in record times for daily Broadcasts.

If you are ever at an event they are covering you should see if you can take a peek behind their curtain.. it will blow you away.

 
02:19 "We need people to look at us in the highest regard possible and to do that we need a Red in our hands" Pretty much sums it all.
 
Inspiring.
 
Best production name to date :)

Now I want hat/shirt ;)
 
Inspirational, but not very informational. Would be nice to go a bit more in-depth with how the actual workflow worked for them; what hardware and software they used etc.
 
Tony, will take that as constructive feedback to pass along to the BTS production team.

FWIW - Their mission is to go (literally) behind the scenes on shoots relevant as far as timing of their subject matter. Vans Triple Crown just happened, we released the video, for example. This is not meant to be a deep five on their workflow, more highlights of how certain "current event" projects are shot.

And note we let the group we are featuring take a lot of the lead on what they want to share of their RED experience. Some may want to go deeper on technical aspects, some may not.
 
Has red thought about a broadcast module? Like the piece of the puzzle to allow DSMC cameras to work within a hd/uhd live broadcast?
 
This means yes ;) Like my father always answers "we'll see about that" never giving a clear yes or no answer, but things usually work out :-)

Jarred Land said:
heh heh heh...
Click to expand...
 
Don't want to hijack the thread but since our first Red One, I was 100% sure Red was the future for action sports report.

I always admire what NFL films has done over the decade.
The fact a huge live event broadcasted on TV was also shot on 35mm to create high quality highlight clips and advertisings was a big inspiration for us as I guess for UTMG.

Steve Gibby shot the Pipe Masters in 2007 with 3 Red Ones, when I saw the result, I was so enthusiastic, it was surfing like I never watched it before!

After producing highlights of the New York surfing event in 2011 with the Red Epic (https://vimeo.com/30585584), we decided in 2012 to produce a whole TV show and highlights package for the Quiksilver Pro France in 2012.
Highlight clips such as this one http://www.youtube.com/watch?v=PaHtmTdHpkg were shot and edited the same day then released the next morning at 6:30 for live broadcasting in Quiksilver Morning Show.
Shooting this kind of event and not using any of the broadcast cameras from the live feed allowed us to improve the quality of the final production and to create proper 22mn TV Show with a cinematic feel (https://vimeo.com/30585584).

We had the opportunity to do the same thing this year on the same event but with a better line-up of Red cameras, here's one of these highlights shot, edit and released for the very next day http://www.youtube.com/watch?v=q6SbhvgosJo&list=PLKMdMAhbu_0xvQaS-UaBF08OO7Y_TR5Pq&index=1 and the final 22mn TV Show https://vimeo.com/78053321 (password: lkrtel).

For these jobs we decided to transcode all datas in Prores 422 after a first grade on RCX on our Mac Pro with a Red Rocket. This format allowed us to edit quickly, add titles, FX and also to share some footage the same day with the live event crew.

When we first offered the idea to Quiksilver, with that quick turnaround and the unpredictable aspect of surfing events, they told us it was impossible but we did it… and on a budget!

I'm now dreaming of having a full line up of Red cameras shooting not only for the TV Show and highlights package but also for the live feed… If it's on the map, I can't wait for a broadcast module ;)
 
While I didn't pick deep into workflow with Jordan and Chris this year, I do know a few things about the backend. The main storage source ended up being my CalDigit HD Pro (ePCIe) running on a Nahelem Mac Pro with Myricom 10GigE over Fibre SFP dual port cards. To have multiple editors building packages on the same disks, 10GigE on SFP Fibre is a good option. Primarily they have iMacs which have Sonnet PCIe enclosures housing additional 10GigE Fibre cards for each station. This is not to be confused with FibreChannel which is a very different thing. This is regular old IP Ethernet, just physically over 850nm Fibre which means FAST.

It's awesome to see them stepping it up this year, in the past, the package materials have been 5D MKII's! It really looks a lot better now!

Also awesome to catch a glimpse of our Century Adapted Canon 150-600mm out on the beach!
 
Jarred Land said:
heh heh heh...
Click to expand...

Definitely something I could see major benefits to, and I know I could use one...and would help to trump the ONLY "advantage" I see the BMC4K camera having, the live 6G output.

Very cool indeed...
 
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