At that point, Thomas, along with production manager Justus McLarty and a small staff, begin their weekly producing scramble. Buono is emailed the script Wednesday night, and by the time he arrives the next morning, the team is already moving at full speed as their sole day of prep becomes a blur of location scouting, art department wrangling, schedule logistics, equipment orders and crew staffing. "Typically, we'll always have a base crew of film unit veterans on hold—first AC, key grip and gaffer," explains Buono. "Then, depending on the scale of the script, the size of the crew may vary from that of a typical commercial shoot with a crew of a few dozen, all the way down to a skeleton crew of just Rhys, me and a DSLR."
The limited availability of talent has been a notable factor in Buono's mind-set about gear. "My overriding goal has been an evolution toward flexibility," he says. "Working with so many great writers, performers and guest hosts, we have to be able to react to improvisation quickly. The last thing I want to tell the director or writers is, 'I need another 20 minutes to re-light if we want to shoot it that way.'
In the continual pursuit of efficiency, during the 2009 and 2010 seasons, Buono embraced the DSLR format, shooting the SNL title sequence using the Canon EOS 5D Mark II and many of the season's commercial parodies with the Canon EOS 7D. "We loved the filmic look and low-light sensitivity of DSLRs, along with the small footprint," explains Buono, "but the downside is that they're made for still photography, not cinematography. They lack some of the essential features of production cameras, such as timecode, SDI outputs and XLR inputs, so working with them has always involved a bit of jury-rigging."
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