The post-production process at the SNL Film Unit requires tools that mirror what we do — they have to be fast and they have to be flexible. Red Giant’s products help us to more fully execute pieces that span a wide variety of styles and tones, while being lightweight and optimized to a level that they don’t get in the way of our unchanging weekly deadlines.
With the ultra-compressed nature of the SNL Film Unit post-production timeline, the more polished the look and feel we can give a piece from the get-go, the more we can focus on the most important aspect of the job: Is this piece working? Is it funny? Tools from Red Giant often save us from not having to take the time to explain that “yes, we’re going to eventually get rid of that greenscreen.” “Don’t worry, the color is going to eventually be what the piece needs.” This lets us be more free creatively, even if that freedom is often spent in search of a perfect fart sound effect. Or two.
Jaime Fox is jumping to camera in front of a green screen where we’ll be compositing a large explosion behind him? Nice to see you Keying Suite and Light Wrap!
The agents from “The Beygency” need a little bit more of a Tony Scott-esque color tone to really sell how serious they are about never disrespecting the Queen B? Mojo, get up there on that adjustment layer next to your responsible older brother Colorista! I’m sorry we’re only going to use you at about 20% opacity, but that’s not your fault — sometimes you just come on a bit too strong.
When it comes to making sure the pieces we shoot in a day and cut in another never look that way, Red Giant products are a favorite tool in the Film Unit’s arsenal. A great set of plugins will never make the piece for you — but they will help to make it better.Save $10 on your registration when you use discount code CETRED at checkout. Register NOW at www.CuttingEdgeTour.com