posted 11-17-2004 01:25 PM                       

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Q: What were your early discussions like regarding the look of the show?

INWOOD: They impressed upon me how important it was to be able to shoot this show pretty fast while making it look as good as possible, so we could get the coverage. It's very much an ensemble series-there are six major characters, and there are four to six other small characters who are on almost every show. It's very blocking-intensive. We shoot it in Super 16, which in a way is a great thing. It's supposed to be an inner city hospital, and they want it to be a little gritty. They want an active, moving camera that is a character in the show.


Scrubs
Q: How do you achieve that?

INWOOD: We move the camera a lot. We do a lot of Steadicam, maybe 30 percent of the show. Ninety percent of it takes place in the hospital, and we shoot it in a hospital, not on sets. It's a practical location that suffered a lot of damage in a 1994 earthquake, and then after that stopped being a hospital. It was then revived by location scouts who discovered it for TV shows. We moved in and took it over entirely. Bill Lawrence and Randall thought this environment would help develop a very tight family atmosphere. They wanted everything under the same roof. So we have everything: editing, production, the sets, all the crew, everything is there. My gaffer and my key grip -- Andy Rawson and Sean Crowell -- and I had three weeks to get it ready to shoot, and at high speed if necessary. We put in a lot of fluorescent units, and we fitted a lot of windows with hard ND panels that could be pulled in and out really fast. We have a couple of 18Ks on a Condor that are ready to come in thru any window at any time.

The biggest decision I made from the get-go was based on my previous Super 16 experience-I knew I wanted to try to shoot the medium speeds films. I knew they wanted sort of a gritty look. I chose right away to shoot a majority of the show with 250-speed Kodak Vision 7246...

Q: What shape is the frame?

INWOOD: We protect Super 16, but we shoot 4 by 3. That's what we're really framing for, but we're always trying to protect for the HD if we ever get there.

Q: How is the show posted?

INWOOD: They transfer to digibeta, and they edit on Avids. Then they do a tape-to-tape color correct. We work at Level III. My colorist is Larry Fields. He's very good, he's done a lot of shows

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posted 11-17-2004 11:46 PM                    

quote: Mike Heenan

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I know these logos dont bother me.

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