So what we’re doing (well, what I’m doing) is having a contest over the summer to get new members at the forum.
Then, in September when season 3 starts whoever has brought in the most members gets the prize..
What is the prize?
I don’t know yet, probably something lame like $5 through Paypal, or an Amazon GC. Lameness eradicated! The prize is either a) Community Season 1 on DVD or b) Up to $20 worth of merchandise on the NBC Community store.
I figure some of you know other fans on other sites or IRL and could try to get them over here.
So, first go signup
at the forum.
Then, in your forum User CP there will be a referral link you can give out.
You can see how many members you’ve referred, and I can keep track of who has the most.
I really want to get as many active members as possible.
And of course, no spamming or anything like that.
The thread for this contest is here.
Month: April 2011
Here they are.
Leave comments/questions here.
So come signup and discuss tonight’s episode, I’m also planning some things that I won’t get into quite yet.
CreativeCow has a behind the scenes look at the production of Community
“The Russos were interested in a couple of workflow options, including a file-based workflow,” he says. “They knew enough about it that they knew there were certain speed efficiencies with this workflow. They also expressed an interest in setting up their own post operation. Not just cutting offline, preferably in HD, but also finishing the show short of color grading in their edit bay, so they could make last-minute changes and save some money.”
“They weren’t afraid of new technology,” adds Squyres. “In fact, they were a little aggressive, asking in one of our early meetings about using DSLRs.”
Although DSLRs have now been used on a variety of TV and film projects, this conversation took place well over two years ago when DSLR usage was truly an experiment. “This was before the cameras were capable of doing 24P and could only shoot 30 fps,” says Squyres. “That’s the primary reason I said, wait a minute, let’s see what else is out there.”
Joe Russo notes that they researched cameras for a year, from Canon to RED, examining each camera’s workflow and trying to figure out what was the best fit. Cinematographer James Hawkinson shot the show’s first 26 episodes, replaced by Gary Hatfield, who was the show’s camera operator. “As a producer working in this day and age and economy, everything is about cutting costs and the belt is tighter than it’s ever been,” he says. “If you want to maintain quality, you have to find out how to do things expeditiously because time equals money. It’s part of a whole philosophy in place: how can we work quickly and easily and still get a great product.”