RED ONE as TV studio camera on fxguide TV

[Emanuel A Guedes]

Here's the sample:

 

footage available here:

http://media.fxguide.com/fxguidetv/fxguidetv-ep014.mov

 

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[Kristoffer Newsom]

I've actually been wondering if the Red One will eventually find use as a Studio News camera, due to it's HDSDI output and relatively low cost while functioning with a wide variety of lenses. I know it seems like overkill, but you should see how much news stations pay for stuff like studio cameras for the image quality the produce!

[John Sprung]

I've actually been wondering if the Red One will eventually find use as a Studio News camera, ....

I wonder if the 35mm equivalent DOF would be an issue with that.

 

 

 

-- J.S.

[Mitch Gross]

I wonder if the 35mm equivalent DOF would be an issue with that.

-- J.S.

In the studio at an anchor desk the distance to subject doesn't exactly change very much, so I would think that it's not a problem. Certainly the camera will be supersampled down to at most a 1920x1080 for broadcast so that helps the relative depth of field. I think it could be a pleasing look if done right. The operators will have to think a lot more about focus than they ever have.

[John Sprung]

In the studio at an anchor desk the distance to subject doesn't exactly change very much, so I would think that it's not a problem. Certainly the camera will be supersampled down to at most a 1920x1080 for broadcast so that helps the relative depth of field. I think it could be a pleasing look if done right. The operators will have to think a lot more about focus than they ever have.

What I was thinking is that any set pieces or logos in the BG would either be softer, or they'd have to light hotter and stop down. If they were to work with a green screen covering the entire BG, there'd be no problem.

 

 

 

-- J.S.

[Mitch Gross]

I doubt they would use the RED One unless they were specifically going for the shallower depth of field. There are some cheaper routes with HD-SDI. I'm not going to argue quality, just note that it can be done with professional equipment. Sony XDCAM 350 and Panasonic HPX500 immediately spring to mind, and these cameras could inexpensively use the 2/3" B4 mount lenses the station would already have on hand (the Sony with a low cost adapter).

[Tim Pipher]

Anybody know if the color out of the Red in studio shoots like this can be usable as recorded live, or will post color correction always/usually be necessary?

[Mike Brennan]

[quote name='Mitch Gross' post='194327' date='Sep 18 2007, 12:43 PM']I doubt they would use the RED One unless they were specifically going for the shallower depth of field. There are some cheaper routes with HD-SDI. I'm not going to argue quality, just note that it can be done with professional equipment. Sony XDCAM 350 and Panasonic HPX500 immediately spring to mind, and these cameras could inexpensively use the 2/3" B4 mount lenses the station would already have on hand (the Sony with a low cost adapter).[/quote]

In 2004? at HPA I suggested using Genesis for TV news anchor work and John Gault quickly put the idea down saying that Genesis wasn't a TV camera.
However the 1st big job after Superman was a multicamera pop concert in Sydney.

BBC use diffusion panels to diffuse the newsroom background behind the anchor so I do believe that 35mm DoF has a place for live TV work.
In fact watching the SD transmission on a large HD set one can see scratches and marks on the panels.
When HD transmission becomes common "studio rash" will be a a prblem but 35mm DoF for the mid shot would work well.


Someone needs to make a CCU control for RED.

Mike Brennan

[John Sprung]

In 2004? at HPA I suggested using Genesis for TV news anchor work ....

Genesis is priced far higher than any TV news operation would consider -- they're rental only. Red, though, could be a very attractive price/performance point. Studio news cameras tend to last a long time, so I'd expect the news guys to let Red build up a substantial track record first.

 

 

 

-- J.S.