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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 :)

Snl Red?

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Clayton Farr

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Pure speculation here - but tonight's Saturday Night Live Digital Short (with superhero Andy Samberg getting beat to a pulp by a NY mugger) looked a lot sharper than most.

Are there any NYC RED folks from the board working with SNL?

EDIT: Whoops - meant to post this in the footage section; feel free to move...
 
I sometimes work on the commercial parodies. I've spoken to them about using my Red instead of HDX-900/ Pro-35. But the turnaround on those is wicked fast. We shoot on a Friday and it's ready to air Saturday afternoon for the rehearsal of the show. I can use my HDX in DVCPro HD at 1080, which is what they master the show in, and they can (really) just drop it in and go with FCP. We use my Firestores in addition to rolling tape. In fact, a PA usually runs the morning's files over at lunchtime so the editors can start working right away.
This is one of the reasons I've been sooooo vocal in the quest for a faster post process with Red.
I'm not sure when they do the digital shorts. It might be earlier in the week, and they may have more post time. I know that those are typically much more guerilla than the commercial parodies.
Cheers,
Harry
 
harryclark said:
I've spoken to them about using my Red instead of HDX-900/ Pro-35. But the turnaround on those is wicked fast. We shoot on a Friday and it's ready to air Saturday afternoon for the rehearsal of the show. I can use my HDX in DVCPro HD at 1080, which is what they master the show in, and they can (really) just drop it in and go with FCP.
Click to expand...

You have explained, why professionals prefer the more expensive SONY gear instead of RED.
SONY is practical and can be depended on for getting something done in real time and make a living.
I am not knocking RED. It is great camera. But not for real time TV production.
SNL does not use RED. Nor do any of the TV networks.
 
chuckt said:
You have explained, why professionals prefer the more expensive SONY gear instead of RED.
SONY is practical and can be depended on for getting something done in real time and make a living.
I am not knocking RED. It is great camera. But not for real time TV production.
SNL does not use RED. Nor do any of the TV networks.
Click to expand...

:-) You obviously do not have current info...

Jim
 
chuckt, harryclark never mentioned Sony... it's the other guys.
 
chuckt said:
You have explained, why professionals prefer the more expensive SONY gear instead of RED.
SONY is practical and can be depended on for getting something done in real time and make a living.
I am not knocking RED. It is great camera. But not for real time TV production.
SNL does not use RED. Nor do any of the TV networks.
Click to expand...

LOL!!

we've worked with two (TV networks) so far -
 
And also, chuckt, the parody commercials are done with a commercial style workflow. We shoot film, HD, and other formats but rarely with a "TV" workflow (live switching, remote truck, etc.) It's always shoot, process, edit, cc, show it to the test audience.
I think the Red One is perfect for the commercial style workflow. It's just that on the compressed deadline of the SNL schedule, I can't see it working right now. But that could change overnight if there was a faster, more robust post path.
Cheers,
Harry
 
harryclark said:
It's just that on the compressed deadline of the SNL schedule, I can't see it working right now. But that could change overnight if there was a faster, more robust post path.
Cheers,
Harry
Click to expand...
I'll give you some SNL RED news soon - we've been talking to them for months - we are going to show Mr. Rosenblatt just how fast we CAN do it. They were 100% no go without in-cameras audio - and we wanted to get a "speed" workflow down -
 
chuckt said:
You have explained, why professionals prefer the more expensive SONY gear instead of RED.
SONY is practical and can be depended on for getting something done in real time and make a living.
I am not knocking RED. It is great camera. But not for real time TV production.
SNL does not use RED. Nor do any of the TV networks.
Click to expand...

Our production group has been and is now working with several television networks, producing internationally and nationally airing programs. We own a collective six RED cameras, with two more due to be delivered shortly. We also own a lot of "more expensive Sony gear" (some HDC1500, F900, and more) which is integrated into our field production kits for certain applications, and a 4k Sony projector and large screen for use at our editing facility.

Super quick turnaround non-hardlined EFP/ENG production and hardlined EFP production isn't currently RED's main strength (ENG, reality, etc.). But non-hardlined EFP production, with its much longer turnaround times for finished programs, which is the vast majority percentage of all television programs produced, is a very strong usage area for RED ONE. All of our current network television programs are non-hardlined EFP. Even hardlined EFP programs like SNL have non-hardlined breakaway segments integrated into their productions, which is where RED ONE could be quite easily integrated.

Anyone confused about the difference between hardlined EFP and non-hardlined EFP, and my takes on where RED’s main usage areas are, can check out my FAQ at the top of the EFP/ENG and RED forum on RED USER:

Link: http://www.reduser.net/forum/showthread.php?t=1105
 
chuckt said:
You have explained, why professionals prefer the more expensive SONY gear instead of RED.
SONY is practical and can be depended on for getting something done in real time and make a living.
I am not knocking RED. It is great camera. But not for real time TV production.
SNL does not use RED. Nor do any of the TV networks.
Click to expand...

I have one television network ready to book my camera when it arrives.
My main problem is actually getting my camera in the time line that they require for the shoot date.

Chuckt you seem to always have a negative comment coupled with very little practical knowledge...
Can I ask who you work for and what your area of expertise is ?

Dave
 
we actually shot a promo for Spike TV down in Orlando that starts airing this weekend - silly little cute "father and son fishing" promot tied to Red Lobster. The Spike execs said it looked like it was made for 3-4 times the budget.
 
from Gibby
Super quick turnaround non-hardlined EFP/ENG production and hardlined EFP production isn't currently RED's main strength
Click to expand...

Hey Steve,

Most of my work will be non-hardlined. I know that things will improve in the next few months but could you give us a brief explaination of your workflow now.

BTW saw the SNL segment and wondered the same thing. Well done and funny.

Thanks
Frank
 
Clayton Farr said:
Pure speculation here - but tonight's Saturday Night Live Digital Short (with superhero Andy Samberg getting beat to a pulp by a NY mugger) looked a lot sharper than most.

Are there any NYC RED folks from the board working with SNL
Click to expand...

I saw it too.. I dont understand why you would've thought that though.
 
dvpixl said:
I saw it too.. I dont understand why you would've thought that though.
Click to expand...

Again, just a bit of speculation. (Or perhaps wishful thinking ;) I'd imagine for broadcast a lot of things would look similar but it seemed to have an appearance closer to film than their other shorts. And aside from the turnaround times mentioned, it wouldn't surprise me if they tried RED out for these kind of things.

- Clayton
 
Snl

Snl

Anybody know what camera? Lots of motion blur and blown out highlights. Wouldn't think it was Red. Funny though.

835
 
The producer for the film unit (admittedly different than the digital shorts guys) said that they were using an HPX-3000.
Cheers,
Harry
 
Oh, that's what that job was. Think this came from Abel.
 
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