Sports footage

[Erik Carlson]

Does anyone have any sports footage shot on Red? I am a ENG/EFP guy. I really didn't think Red was for me. I had the chance to shoot with the Red a few week ago. Now it is all I want to shoot with. It opened up a whole new door for me. I'm not really into shooting feature films. I am more into documentary work. I see a great potential for sports with this camera. I was just wonder if anyone has shot any football, auto racing, or any other sporting events that I could watch? Are any of the sports outlets like ESPN, NASCAR image, and NFL films shooting on Red?

 

[Steve Sherrick]

Talk to Steve Gibby. He has done a lot of what you speak of. Also, David Birdy has experience with sports as well.

 

[Chris Parker]

i shot the toronto maple leafs on two REDs. 2K at 120fps. looks great.

 

[Steve Gibby]

Yes, multiple sports networks are using RED One for non-hardlined EFP work - documentaries, creative b-roll, inbumps/outbumps, promos, etc. Among other non-sports genres, I also do a lot of network sports production for ESPN, Fox Sports Net, NBC, OLN/Versus, Speed, Fuel, Comcast, and many others. This is generally non-hardlined EFP production, usually of alternative sports, although I also do PGA, NHRA, NFL, etc.

I own multiple RED One cameras, some of them for 15 months now, and sports has been one of the key genres I've used them for. In just the past two weeks I've shot extensive footage of professional surfing, mountain biking, kiteboarding, and skateboarding. If you know what you're doing, and know how to setup RED One for mobile work and alternately for long lens work, it is a great camera for sports.

Check out my sticky at the top of this forum, explaining RED One's strengths for EFP work, including sports. Among other national Emmy competitions each year (Prime Time, Daytime, etc.), I'm also an invited judge each year for the National Sports Emmy Awards. When a lot of non-sports people think of sports, they automatically think of hardlined (trucked) EFP mainstream sports. The fact is a huge percentage of televised sports production is non-hardlined EFP alternative sports, with small mobile crews in documentary mode. This type is ideal for RED One.

RED One is versatile and flexibly enough to be widely used in sports production - and it is - but Epic and Scarlet, being even smaller, but with higher frame rates, with the right lens/accessory combinations, should be great for sports production. We're not talking about live programs, but rather edited in post programs. Set RED cameras up for interviews, then quickly set them up for hand held, then POV, then lightweight stabilization unit, then add a long lens and tripod and track sports action - all with the same camera or cameras, quickly re-lensed, and re-accessorized. Shoot cinematic 23.98 for creative montage shots, maybe 29.97 for routine segment shots, and then high frame rates for slo motion sequences. Versatility, scalability, mobility, flexibility...RED cameras deliver all this...and all are critical for good sports production.

Those who know how to shoot good sports television content, and also know how to use RED One (and Epic and Scarlet to come) are nailing some incredible programming. I also expect Epic and Scarlet to take that to the next level. BTW, adventure travel is a natural peripheral genre to non-hardlined alternative sports - and RED cameras are also very effective for that genre.

 

[Erik Carlson]

Thanks Steve. That is what I was hoping to hear. Now I need to get out there and get a great demo reel together. I 'm go to start right away.
Thanks
ERIK

 

[Joseph Ward]

RED One is versatile and flexibly enough to be widely used in sports production - and it is - but Epic and Scarlet, being even smaller, but with higher frame rates, with the right lens/accessory combinations, should be great for sports production. We're not talking about live programs, but rather edited in post programs. Set RED cameras up for interviews, then quickly set them up for hand held, then POV, then lightweight stabilization unit, then add a long lens and tripod and track sports action - all with the same camera or cameras, quickly re-lensed, and re-accessorized. Shoot cinematic 23.98 for creative montage shots, maybe 29.97 for routine segment shots, and then high frame rates for slo motion sequences. Versatility, scalability, mobility, flexibility...RED cameras deliver all this...and all are critical for good sports production.

What about the 1080P or HD-SDI for Live View for RedOne eventually? I hope the new Scarlets and Epics can do this also.

 

[WesG]

I've shoot a bunch of surfing.

Check out the over-cranked in-water footage from the Maldives on my website.
www.naluproductions.com

cheeers
wes

 

[Scott Roberts]

I've been wanting to see some high frame rate footage, thanks! Looks great!