Canon C500 used on Saturday Night Live

[Terry Nixon]

The Canon C500 was used to film the Saturday Night Live "commercial" below in 4k on a Codex Recorder.

http://www.nbc.com/saturday-night-li...ritin/1423666/

We've got the C500 EF in stock. C500 PLs are expected to start shipping soon.

Let me know if you need one: Order a Canon C500 EF PL -

[Bob Willis]

Broken link, Terry

[Terry Nixon]

the link should work now:
New Claritin | Video | Saturday Night Live | NBC

[Charles Papert]

Either overexposed in camera or pushed in post--either way, not loving some of those blown skintones (office and street scenes).

Considering the urgency of their turnaround, I would be curious to know if the editorial department downrezed the raw footage or cut in 4K and downrezed the master. Either way, a bit of a strange fit for a weekly show that airs in 1080.

[Matt Sturns]

yeah footage was pretty blown out, not impressed, plus way too yellow interiors.. it was OK, wow SNL cast needs a refresh too... haven't laughed at that show in years.... Just sayin' :)

[Nate Haustein]

Yes, looking pretty gross. My editor told me it looked much better on TV when he saw it air last week. Perhaps compression issues of some sort.

[Jim Giberti]

Yes, blown, flat, exteriors and exaggerated warm interiors; none of it showing the potential of the camera.

It could have been shot well with an FS100 or AF100 and looked better.

[Charles Papert]

Alex knows what he is doing so I'm guessing something else was at play here. Regardless, it still feels like a stunt to me--what would be the possible reason for shooting a clip for SNL in 4K other than for publicity. TV is about speed (and SNL particularly so) and large data files are not speedy to work with. 4K does not have room right now in the television arena. Once the workflow is in place and there is not a penalty involved, some shows may adopt for future-proofing purposes--1080 transmission now, 4K for future syndication/downloads or whatever replaces Bluray as a purchase medium--but it will be a good long while before 4K home delivery is in place. On my series I was told by editorial that it would be cost-prohibitive to shoot 444 vs 422 (we are on the Alexa) because of their storage needs. Likewise, on a feature due to be released theatrically, I was told I can shoot 444 but not ArriRaw.

It will be interesting to see how popular the C500 becomes, and who will be using it.

[Nate Haustein]

I'm going to a special event for the C100/300/500 tomorrow night in Minneapolis and Alex is actually going to be there talking about the camera and SNL. I'm sure we'll see what's going on with a HQ version of the clip, and if not, I'll make sure to ask!

[Nate Haustein]

They didn't show the spot, but the screen grab he did show looked better than the online clip. Also, FWIW, they shot to ProRes 444 with the C500, and didn't delve into the RAW yet.

[Charles Papert]

He must be pretty unhappy about the online version then, I certainly would be. I have a lot of respect for what he does, knowing the turnaround for that show (and working in a similar vein) and it's painful when material gets put on the web improperly.

ProRes444 makes a lot more sense than RAW.

[Jim Giberti]

By the way Charles, I'm loving K&P.