This is topic SCRUBS in forum Film-Yak at Film-Tech Forum ARCHIVE.


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Posted by Ken Lackner (Member # 1002) on 11-17-2004, 12:06 AM:
 
I watched Scrubs tonight for the first time in about a month and a half cause I don't have TV at home. Someone please fill me in.

What's up with the lawsuit?
How did JD and the lawyer get involved with each other?
What happened to Heather Graham?
Who was the woman who ended it between JD and the lawyer?

Anyone have the show on tape?
 

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Posted by Jennifer Pan (Member # 2035) on 11-17-2004, 01:51 AM:
 
This may or may not help you, Scrubs - Episode Guide Season 4:

http://www.tvtome.com/Scrubs/season4.html
 

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Posted by John Pytlak (Member # 331) on 11-17-2004, 05:33 AM:
 
AFAIK, "Scrubs" is shot using the Super-16 film format.
 

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Posted by Steve Kraus (Member # 476) on 11-17-2004, 09:07 AM:
 
With Elaine(s) perhaps?
 

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Posted by Phil Hill (Member # 371) on 11-17-2004, 09:50 AM:
 
I don't think it was a Panavision camera. Aaton I think.
 

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Posted by John Pytlak (Member # 331) on 11-17-2004, 01:25 PM:
 
An article about the production of "Scrubs":

http://www.kodak.com/country/US/en/motion/news/reelTalkInwoodP.shtml

quote:

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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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quote: Mike Heenan

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I know these logos dont bother me.

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Posted by William Hooper (Member # 71) on 11-18-2004, 12:37 AM:
 
A month ago I bought one of those cheapie bargain bin DVD's because it had some old Bulldog Drummonds on it. Surprise, about 5 minutes into the 1st movie, and then every 12 minutes or so, in every movie, was their own cheap little bug in the lower right-hand corner for CHEAPIE DVD CO.

And they likely just pirated the titles from some old Grapevine videos or something. It's interesting how they're the least scrupulous about other folks' property rights but expend huge effort to assuage their paranoia about others ripping off what they've already ripped off.

There may or may not be honor among thieves, but there's certainly a lot of paranoia.
 

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Posted by Jesse Skeen (Member # 586) on 11-18-2004, 01:56 AM:
 
Laserlight has a few DVDs of the public-domain Andy Griffith episodes where they flash the logo of their parent company Delta Entertainment in the lower-right a few times. When this is done on public-domain material, it's supposedly so other companies won't take their video transfer and sell it as their own, but of course that also makes it worthless to anyone who just wants to buy and watch the thing. While there are plenty of other companies that put out those same episodes without the onscreen crap, I've heard a couple companies have "stolen" Laserlight's transfers and put out their own discs with the other company's logos still on them!
A lot of people seem to think the logos on the TV networks is to keep people from taping and selling shows, but it's really more about "brand awareness", like if you keep seeing their logo you'll know what a great network they are and keep watching. Based on that logic, I expect that if I pee on your front window, you'll become my best friend.
Anyways, this crap is the main reason I decided not to get into the TV business- I don't think I could stand to be in the same room with anyone who thinks onscreen logos are a good idea.
 

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