Constructing a Scene pt 2


HDDSLR Filmmaking


Lesson Info

Constructing a Scene pt 2

Question from sion marquee are there any modern trends and lighting which you just cannot stand I should actually interesting question I know that I can think off that I've bean I'm very aware of I think um I mean just sort of I mean one of one of the things that has happened over the last ten years it is that a lot of the rial craft and photography has being taken out ofthe commercials and now there's a lot of commercial said arm or about you know, just music and fast cutting and and anything goes and the craft of photography is being taken out ofthe a lot of that kind of advertising and I mean I think the period of sort of masterly beautifully shot commercials used to be in the days off ridley scott on tony's gotten directors like that in the eighties and nineties who would spend hours beautifully grafting commercials and people would actually uh certainly in england or in britain would make sure that they were sitting them for the commercials and then gum wonder off to do other thin...

gs when the program was running because the commercials were so much more entertaining than the uh in the actual program content and I think you know they still make some wonderful commercials of course but the money is and spend anymore to make things you know I mean I remember on a period when it would be quite common to spend you know half a day lighting a glass of beer now an awful lot of it's done inverter shop and things like that you know first of all these campaigns and things like that and a lot of it's done in aftereffects and things like that so there is a tendency to do a lot more things imposed on dh and sometimes it looks a little bit vague so I suppose that's the anything but I mean you know again you know my mild my whole thing is that rules are made to be broken so whatever works you know if you've got a good story a little and it works then that's cool huh? Question from s rachelle can you explain the effect achieved by using the opel and what how is it different from silk um it's a good question that's something that I think cell diffuses a little bit more than opal in it depends what kind of silk um insult comes in seventy different grades and varieties and it's easy to captain handle disadvantages of opel is that if it's windy that makes more noise still makes like less noise when I mean there's so many thousands of times of diffusion that comm used for different purposes coming right down to even things like miss queen which is the cheapest plastic covering you khun by a ten depot to just slightly soften this unlike townsend we use in their lay an awful lot you know and I think it's just a matter of having your favorites it's just the opel is a very common one in the film business and so I use it just because I knew exactly what it does but if you if you like silken some people even use blank silks and no accountability realize as well and um you know it's um depends what cantor silk really I suppose let me get back to this is where we were going to finally get to the point of talking about false calorie owner marshall monitor so game called I mean this is the image here um no uh could someone just passed me that monitor from around there and sorry the flashlight is one sweeties all right there's basically on a lot of monitors but particularly on the marshal is I love is it device ical false color on what it does? Is it it converge on dh on ly toews independent of their color indu brightness ranges on an I r e scale because on digital capture uh there's a scale called the I r e scale zero being absolute black at which point there is nothing more to be captured in darkness with any detail because zero there is there isn't less than zero and then on the other end of the scale this fiery one hundred which is where you begin to clip on that's where you absolutely amputate anything brighter than one hundred I ari is it can't be recorded one hundred is max and so basically you can probably see on here is basically a scale of colors sadly it's not on the marshal monitors on the camera but basically this is scale that goes from future which is right down here which never seems to really work all that too well but can you see that right through to ten percent which is our dark blue twenty percent which is our sort of slightly more mid blue and then into our two shades of gray which is thirty forty there's very fine lines between forty five and fifty which is green fifty is exactly eighteen percent or mid grade on then between fifty and fifty five is pink and then light a grave sixty seventy up into the yellows right up to read the top end which is the dark yellow at the top is one hundred red is over a hundred so anything that's red is clipped and then you know anything that's lightness orange color here is in danger of clipping on anything right down here in the dark blues right down here is dangerous clipping at the bottom and my personal feeling for your exposure on these five days and seventies and won the mount force and so on and so for this just play a tiny fraction andre exposed I personally that you can judge quite well from the image what you're doing but I would suggest that you tend to get your iron okay to disconnect this h g m I connect with them selling exploding so difficult to see because you have to look at this in a flat angle but when steve was mentioning about sending up the camera yes that you like to set it up before, right? Yeah and to me this is a really nice image it's the right kind of density test the right kind of values in it but you know, when I plugged the htm I bank in there there's a lot of pretty good at this why have assistance and see them becoming the images in these two are actually fairly comparable on they, uh very often on the marshal it looks a bit brighter. So it's, if you're going to judge the picture initially it's probably better to judge it on the lcd on the back of the camera cause sometimes the marshals can be a bit right apart from when you're in forest color. So you see you've got an awful lot of ten and twenty is in here which of the dark blue in the life move but right up through on the wall there were sort of right up into the heart yellows up there on the side ofthe the rain's face let me just go in lorraine's face a little bit tighter now you're saying thank you what's going on and this to me is a really lovely exposure because you've got the from moody scene like this you've got the pink in the green separating exactly fifty ira which is the mid turn here so to me this is an absolute perfect exposure if you're going for a movie scene which is what we're doing yeah of course it's out of focus and not too embarrassing that yeah there you go that's like a perfect explosion for this situation where you've got your talking about being very very slightly on because in photography a caucasian skin is generally a stopover big grey I tend to play it about mid gray on the five d so you're just fractionally underexposed and then then there you have it so very good indication off them you know explosion factoring with this and believe it or not there's a lot of detail in in here even though this is only it this is twenty twenty I r e the rains blows here on dh is it ten I agree out here but this plenty of detail in the shelters here well this will be seen so that you go so that's basically let's go back to our regular shot that's your coverage moving in from here it's just uh let's close the door because the door was closed before if we may because somebody close the door for us yeah um so you're getting that signal to the monitor from the hd ally? Yes is that one hundred percent accurate? The I've found that the false calories on represent accurate sometimes the the brightness of the monitor isn't to be trusted perfectly if you if you're trying to just work off the brightness with steve suggestive setting, you monitor brightness of foreign judging it by being completely flat on looking at this image on dh if it's kind of in the bowl part you're going to be pretty damn good but this is just a double way of kind of being very, very accurate with your um uh you know, when your exposure on dh you know, that's why I love this and you know, while we're on the subject, we also have what we call a mme peaking and this was the way in which our focus pullers on house managed to adapt to pulling focus on a system that's very, very difficult to ball focus on I'm going to go in what this does is they call it peaking, it basically puts a solid red line into where two edges become I'm shopping but up against each other I'll show you that by showing what happens when I just look att the rains have for example, suddenly it's a me jast old pops into speaking that's when you you have the contrast between a darkroom like the shade but the safest way of pulling focus on holding judging focus on this is too look at the reflection in the eyeball isthe right there and just look slightly above me in the rains I can see your eyes a year too yeah so then you have your focus and it's this this was the way that our focus pullers managed tio basically do the focus they judged it all they had one large monitor that basically have the regular picture and then they had a a small amount in terms that basically were set on peaking and they you know, having seen a rehearsal they tended to know where the actors were going to move and then anticipated their movement by using this device but I'm certainly not for the weak of heart it really is quite tricky stuff you know, obviously more wide of the aperture the more difficult it gets when you're going from very shallow depth the field um so you know what else can I tell you about this set up so this would be good for let me just put back out into regular setup reframe we're back to our way. Okay, so um oh, I see what's happened this one's moved over it's just tim would you mind does anybody you remember that I just took the light off timber tiny bet the reason I did that was so that the emphasis was thrown forward more onto the rain on the other side we we took a stop of brightness is that create yeah, we took a stop off tim here just say that I'm your eye I was forced to go over to rain a little bit more than me this job stubborn kate so we basically took some emphasis off tim here so you know where we're sort of more tunnel vision through onto lorraine's who that was basically the reason for doing that now we're slightly affected by you guys being in the field like there but it's your fine for the moment in subject you find so let's just run that little scene that we did oh, no you know, going into your stamina we can you know, we certainly can we didn't record the master shot so it makes it a little bit silly but ok, do we wanted to get guards and record it who's your questions that all right? Um um yeah that's what do we do? We really want to record this scene because we didn't record the master sorry. Okay, let's get some cards then. Jason oh, you have have bank them. Oh, yeah, great. Well, we're putting college and the cameras are ready questions or anything I can help anybody with oh, yeah, well me when we come around yeah, definitely so that means we'll probably have to go back and do the wide shot again. They'll have a quick question from god, it from god. I know, uh, if you are set for a preset like sinise style, does this dramatically affect the false color viewing? So if I was pretty, if you were using this in a style preset, does that dramatically affect the false color viewing? Um, it does a little bit, but it, you know, I mean, all that all this happens in terms of city style is that you get a little bit more flatness, but it still tells you the same thing. I mean, that you'd be doing the same things to avoid clipping and peaking and losing your shadow detailed to total black. So it would. But it means that, you know, because you've got slightly more dynamic range, you you probably need to do last to, you know, help it out of that makes any sense, but it it certainly would be affected by that, you know, I would say, I mean, steve, would you agree with that and really thought about it very much. If when one's in the city style mode, whether the false color is, uh, is that's, an interesting question is no I think just carrying your exposure to soothe false color you know it's gonna clip that's gonna split, right? Yeah, that's that's what I would say I think it probably doesn't have an awful lot of bearing you know? Good question I'll have to play without a little man. Is there just a kind of be a representation of what you're getting it's not it's not gonna affect anything. Have a question from michael solomon who would like to know what your thoughts are on anamorphic filming on dia sellers haven't done it. I'm terrified of doing it and I think it's already on the edge and just about getting away with them what we have because it's so compressed that when you start start stretching pixels out into twice there with and all of that stuff that I think you're asking for trouble and I I just don't think it's the right creature for it. But then again you have you said yesterday if the script's good enough judy don't gaffer tape? Yeah, maybe it's fine, you know, but I've never tried it. I don't know anybody that has its just because house is not an animal feed format thing and I don't have a lot of time to to play around with lots of the tricks and things I'm not sure so maybe somebody else from the internet could answer that I'm sure some people out there exactly that very thing but I haven't I'm afraid I mean do you have any thoughts on that scene get wonderful like compression if you start stretching it trying to blow it up mohr and things like that I think you're kind of getting on very thin ice I mean, I think we josh get away with it you know, I'm really more questions from a question from viewfinder visuals earlier that you mentioned the zone system and in interpreting the marshal monitor you are judging the scene in tones how important do you feel a knowledge of the zone system issa cinematography I think it was obviously more valid for traditional photography, but I still think that it's a good thing to have in your head because basically everything you do in your photographic life is taking really life and compressing it down to what can be recorded on whatever medium you work on. So obviously you could create your own zone system for the five d anything is that zone system has to work within about ten stores where is often film it's about fourteen stops. So I just think it's a really great thing to think about in terms ofthe you know where your highlights where your mid tones and where your shadows and on whether they're on on the ma'am pour off the map which is basically what this zone system is all a man on dso the ira scale in away is just another version of his own system you know wouldn't you say said same same thing just a different form of it you know hindsight yeah yeah I mean, there were things that you could do on film to increase your your dynamic range you could do things like over develop I mean sir over expose an under developed and capture much more contrast and things like that which you can't do one digit or so I suppose there's own system would be a way you know, all those guys like ansel adams were very much into that and you know that b seems they'd shoot where probably they would do exactly that they might over exposed to stocks and bond only developed the film for half the amount of time so that they basically compress huge contrast down to a large extent and then be able to pull it back bank out again by controlling it with the contrast grades of their paper and their developers and things like that and it's the reason why you know we were steve and I were joking essay about what I feel sort of help to my roots it in terms ofthe being a good cinematographer or a reasonable released unemployed cinematographer you know it's the work I did in a dark room and you know, understanding how those things work is incredibly helpful and I mean I think I think I actually feel sorry for people that have just grown up in the digital age that never got to develop film and make friends because I think it's um it's rather sad because the way you see if you actually observe the way most people take photographs these days, they they just start clicking away on. Then eventually an image will show up on then and then they'll start to play from there. I mean, you would never do that on film because it was expensive by the time you'd figured out where your exposure wants, your thirty six explosion film was already gone. So people are very lazy about thinking about light and thinking about exposure and thinking about contrasts and thinking about whether something in the shots too bright by moving one way or the other, they could avoid it all. You know things like that it's, you know, because digital fertile recourse nothing it's created a late elation ihsan the way in which people thought they were of things andi that's very sad and, uh, you know, so you go back to this way, we're here now, wait, just record that's, right? Cool. Okay, so, um, let me just check out where are we? Stop wise on this way for that one forty four, six, forty, nineteen that was at three point I said we should add just double check way probably want tio wants to make it easy hold they don't okay said that's eight hundred oh, ok let's be you know okay. All right, so I'm let's just let's go back to our first positions and then we just we can just run these a static cameras I think they work coming quite well the static cameras so I'm jim just get back to your chair and then just come into it just as best as you can remember. Just go through the scene again. Okay? Yeah. You guys ready? Okay. And folks who happened? Alright, okay. Oh, no snow. Okay on. Dh said and action tried I tried I went home, I tried to try to do it and it just wasn't tried to do it told me to do to make the list. Did you make the list? Like I asked you to make the list with the pen I used a pencil you can't use events but we went over we went over there. You can't use the pen you have todo about. They think ok, look, it leaves in on the should lee doesn't come off. I'm going to cut getting a problem in this camera keeps coming off I don't record this, you know it's just wasting so much time way we can see it on there and that's all the cans ok, so let's um let's go with this evening let's start to see him again ok sorry sorry guys gay and cameras are sad and action tried okay, I try I tried to do what you wanted me to do I went home I tried I just couldn't did you make the list? Did you make the list like I asked you to meet the list did you use the pen? I asked you to use the paintings the pencil it's not about the pencil it's about the pen it's about use the pan can't use the pin okay leaves it leaves marks on my hands I can't I can't get him off there on my hand you can't get them off that's the point but I don't want e can look at your hands for the list that's great actually that's cut then that's cool. Okay, so we know that we really that will cut eighteen why is there so what I would suggest is to continue with this scene and following up on your idea I think it be very interesting to get in here on sort of quite a wide angle lens and you know, getting that sort of demanded looks so we can try that is one look so what we should do is probably let's lose the table we move the table can I get some help with that way no I think not only twenty four should be fine go on move well beijing the u two one camera because I didn't think we'll get another camera in on this one on we'll come right into here how have far forward did you lean do you think more about that yes it wasn't what more can I can make that left needed just get waken you we're not going to see your legs who put your legs out that way if you don't mind and then I can get a little bit lose it to you ok and then do you lean forward yeah that's pretty good so anybody watching and looking remember way we are now within the rains in the circle I think there's a very important zone once you get within effectively the striking distance of an actor you right in there in a circle you know you no longer observing anymore you right sitting on top of her and feeling her presence and it becomes a much more powerful a shot on dh let's see you just do you need forward all right just exaggerated a tiny bit on dh let's just cheat this where we want to chief the eye line to bring the island so can we give tim a slide jim teams I'm chair a little bit that way we get a little bit of help with that and then we'll make it a guy like very tight through here and then if you lean to your right tim that should be pretty cool can you can you see him through that and then lean lean forward lorraine that's it that's really cool yeah so that starts to have real power andi I think it's kind of interesting you know let me just check me yeah we're still we're still good on the false color monitor anything I might be tempted to do on this is tio just bring this ragged and just soften the light a tiny bit more can we try that can we bring it right into can hear stop understand that they were good here is pretty good yeah that's okay all right okay she alleged huh yeah I forgot to check the focus when I was in there yeah cool all right that's good joey good to go on this and uh in two engage let sam let's pick it up again from the move across just so that you know you always feel those sorts of movement so I'm going to stand way back so I'm not creating any kind of shadow so let's just have a look at that large monitor there so just basically go through the scene again and when we'll see whether the focus holds actually jason do me a favor why don't you sit on an apple box next to the camera and just ease the focus if the rain comes? Just sit yourself down on an apple box or just ease the focus if she comes to now the anything you've got to be careful of is not getting in her online too tim who's going to end up over here is that going to be okay for you lorraine go so you can you you wouldn't just just shows how much you're going to lean forward lorraine yeah so it'll be that much jason illian just managed to hold that in an easier banquet if she's if rain since bank okay on dh have you do you think you got a clear eye line said tim just find just find lorraine if you can just you know ok again let's go for it okay are we already okay and sanctioned him tried to you told me I tried okay went home and I tried it I just couldn't you make the list did you make the list right now I need the list did you did you use the pen I asked you to use the pan did you use the pan he's pencil it's not about the pencil it's about the can't use the pen okay you know I can't use the pen it's what it does to my hands leaves it on my hands that's where it belongs but it won't it won't what I can't and shouldn't wash off that the issue you can't keep a racing you need the ink on your hands it's it's dirty that's cool you know that square okay telling them cool on like somebody from the class or somebody from the internet too contribute something here let's get a suggestion of a shot from somebody either on the internet or in the class or both on dh we'll see how that loves uh one thing I noticed with the wide shot is at the very beginning she was really shaking her foot even though she was holding still and that was kind of my first indication that she was goingto wake out eventually so that might be a nice shot and that's a nice idea again that would be a special shot that what I intend to do would be to cover the scene because on somebody like house because europe such again again such a tight said that's a very, very nice idea you might come back to that shot a few days later with one of the standings to do that or you know to me because machinery is so expensive too just sent side apart from doing a foot shot when it could be anybody's foot is not that since wearing the right song jews you know come back to that but that's a very nice idea uh I mean in this case we could do that very, very quickly jason just let's pull the camera back and then we can cross your legs the way they were just come back to about you know what take take the camera off the off the head because he'll be much more fun to be down on the carpet no put the cap on, put the camera on the floor or the carpet just take it off the head get rid of that just rest that right down on the ground now this is where we really do need a little bit of clearance here sorry guys on just to let some fight through and I'm doing a big closer jason because I think otherwise we're we're missing the table yeah that's it and we probably will be need to uh yeah that's quite nice actually, um I don't know what it's so what happened to the table that was here let's bring the table banking that might be around the nice full ground piece it still then you know, you know, this is having a piece of the table that like got panned off that some spend that redhead back onto the band sport just take a look in there you see you can find this lefty and table up that this end several you squeeze the camera on the year keep lowering here table way I'll tell you what do we have them my knee? Anyone you have to have you don't know this coming just take it off here you just put it off and don't worry about that wouldn't get the camera news and then now we can do what we want with it so what I was turning this this way and we can put the table down on the ground said just lose that was completely way just like you said it then you see if you can get a shot tio way yeah I mean it's a bit insane but it's it's more interesting angle to have a bit of foreground into it I can't think that just got some so let's try and get some focus I told him I wanted to back down where it was stand with the focus changed okay that's nice now we've got some four grand going and so on and so forth so just we'll take this from tim's already somebody's in the line okay tim's already seated so I'm just pick it up from the act of sitting them tim if you wouldn't mind okay on dh action did you make the list like I asked you to I made a list with the pen I used pencil it's about the pan I can't it's about the pen use the pin it leaves marks on length hand that's what it's about they won't wash it shouldn't wash off okay that's that's pretty cool let's should do a tie diversion of this can you zoom in jason okay just told that it was quite nice let's do a version like that okay, natural let again I mean okay and goto get an action did you make the list like I asked you to? I made the list like I asked you to with the pen he's a pencil it's not about the pencil it's about it's cutting there that's that's plenty for a little catch away. Okay, all right, so let's cut them on dh basically to make a sequence? I mean, obviously very, very simple sequence we have leave a couple of shots remaining, which is basically two shots back onto tim so let's see if we can do those quickly on dh and set up for that. So what I think we should do is tio just to a bit of treating here, we'll take tim's chair bank to where it was down. So we've got some interesting background waken take that out for the year a new poll now what we probably want to do is to probably gonna have to do a bit of cheating here let's leave lose this table completely. We're going to slide this chair all the way down there were probably going to sit lorraine on an apple box so we can get behind her well, I think we'll lose the sofa completely and just put in a rain on an apple box because so we get this feel abuse of her so jason jason just pull the camera out of there because when you keep going with this over a bit more that's it cool that's good oh I'm sorry let me that's my water let me grab my teeth thank you um take any question well where uh we'll kill you had you had asked the internet audience if they had suggestions for shots so we can we can read off some of those gains they had a lot gil way already turned around no so they were a bit too slow. Well, that was uh sweden we jump in we want to do to get one shot at the time. So so ali would eighty eight's idea was a slider shot into lorraine over the shoulder white wide as she has a lovely backlight that's that's nice I would I would agree with that. I mean we're just that everyone knew we're taking some terrible short cuts here just to get through I was seen in a short time a ten it's that's a very nice idea even to introduce movement into it like that is really cool on dh very important quite a few people wanted close ups of the hands of the hand yeah, I mean that's similar kind of thing to the foot but also very valid our expressive yeah definitely we did have a question from nick justice who had asked if you could explain a little more about eye lines and I think you know, whenever you again in some rule a convention that could be broken whenever you want it but wears a rule called crossing the line and the line exists between two actors and having started on this side of the line in other words, with tim facing left to right on the rain facing right to left unless there's a very valid reason you may as well stay on that side of the line on if you want to cross the line it's good to do it with the camera movement so that the audience is in confused because if you shoot one shot from one side of the lines they on tim on ben unde opposing short on lorraine from the other side of the line they'll you'll end up with two shots where they're both looking in the same direction as opposed to looking into each other and it gets very confusing and and you know, so unless is good reason tio it's something that you know script supervises air constantly on directors about saying, well, we need to also cover it from this side of the line because when we shot him he was no he left to right now you've got the other rank to looking back and he's still looking left to right it looks really weird on dso you know, it's something that script supervisors are very hot on I'm following the convention because when you get him to the cutting room it's surprisingly uh easy and you kind of have shots that don't cut it together to well I mean some of the most the nausea seems to shoot on direct in terms of I lines are when you have say twelve people sitting around a circular table it's a nightmare because no matter where you put the camera it will be good for some bits and bad for other bits you know because you get you know the conversation is jumping around all over the place it might be great for a master shot but a sin issue decide to go between two actors once you start getting in close inevitably some of it's going to fall apart because they'll be looking in the wrong direction relative to the wide shot and you know so it's something that's very good to work out on paper on dh especially seems like that what you have multiple people sitting around the table you can get you around your knickers in a twist very quickly alright thanks girl I know we had talked about that yesterday but we had quite a few more questions going so thank you for that all right so let's say we get this one a little bit let's um let's bring the saving bring the coca loris in china but so we break it up a little bit more and my justice we'll see if we can find a nice hole for tim that let's maybe lower it down I think the game is to lower it down and then now anything is jason we want to match the shots we did so let's put let's cheat lorraine into here and you just said, you know, I think we've learned it a bit too much because we've lost all the lights on so let's get both cameras and let's get the seventeen, two hundred in here and then we'll put this back on sticks and go back the other way and then it will be very conventional and, you know, sort of but at least will have completed the sequence with these two shots on dh so the seventy two, two hundred should be right back against the wall over here just feeling a tiny piece of rain and hopefully not getting a camera shadow. So look look sandra way never the rain let me just show you to your right a little bit sweet on he wouldn't mind a shift your box and shift your box ever is always better yeah that's not a bad match to what we had before from memory and then let's get the me the other shot way get the states here, the sticks will go right there next to this camera angle we're a little bit flat on the lives here but no we don't have time because we way have two wraps a fairly soon ish to take the light around them it would have been nice to have re created this kind of call gloria's effect from off the side of the set to give a little bit more shaped tio tim he's a little bit flat here could we just play with the coca laura such take it very slightly camera left just to get a little bit more light on jim maybe but put a little bit of sport into it we just need a little bit more heat or something tell you what I really want to do this from you that's pretty good let's just put a weenie bit of sports it during a game and then let's have a way given blob probably play with that chairman grip that grip single never just maybe we'll take it off michael completely but just trying to use it on the wall every time so don't do this kind of angle like that so we're really will reposition that grip single and we might even go to a grip double well just just go for spot and see where you are first of all just swing that term single out of the way just make sure your scented with them your game oh that's sam bank bank right off. Just lock it off now you know your scented just before tim bursts into flames. Okay, all right. Now you know what I feel that let's put the apple box feels a little bit high lets him let's turn the upper box the other way could we may we do that the rain just turn it the other way and that's it like that girl that feels better now we still feel incredibly spotted on the two k is that four flood there we go okay all right let's try and get the coca loris I'll tell you what will we do anything let's roll the the duke aid to the left a little bit just roll it roll it left will use this window frame to to cut it off the wall or not on the left there keep going keep going keep going keep going keep going but my mom kicked yankee game but they're holding that not bad and then let's use the grip single just tio just ease the light off the bookcase and the wall just behind tim no on the rangers slide along the box a little bit really? Yeah you left sorry even a little bit more is that we're still working on that one keep going keep coming forward to get a bit more more yeah yeah that's good okay no let me have a have a grip double inside as well you know an open siding with double like the single you've got there on no love to have one inside as well I just want to see if the idea worked basically or whether it's going to shop here it's gonna be do shop here just on what I'm what I'm I loved to do it I'd love to get some light off the wall like that but from outside because this way too sharp inside just say we could do something like that use the double instead of the single yes oh so the single is covering him completely at the moment so you just lose the single completely because all it's done is just take off a stop light off the overall image coming what I'm trying to do is just to control the lights here doesn't I don't get how you do it just just get a soft flag through here use the double probably better than the single but just give me an angle so it doesn't and take the light off tim's face you now we're cooking cool that's grain we do something like that to make that's a base and then we'll just raising a fraction how does someone like you is that one of you just trying to come in I can use that to our panel jason we don't really need it way you know what maybe I got it I got it yeah that's that's been that's good yeah that's cool I'm just let's set our exposures and said our focus and all that stuff and then so amazingly well no god two two shots that dunn was pretty good we basically got two shots that match our reverses again of course it be lovely to have a slide and just kind of and have a bit of movement going here and you know, basically we you know, by completing these two shots were basically going to sequence so let's have tim just start over in the chair here and um gay says the I would just start you right over in the chance that probably isn't relevant anymore but again then just basically I just caught call action and if you just go straight into it and then through that ok and everyone ready, okay and action tim try try try to do it. You told me to do it to make the list and yeah, I need the list with the pen did you make the list with the pen I used to pencil it's not about the pencil it's aboutthe it's about the pan thank you. It won't come on it's not supposed to come back and watch my hand there won't be oh supposed to come on you can't keep erasing it you have to live with oh about the don't use the man it's about the ink on your hands you would dirty you can't be clean oh cool I mean that's great okay, all right, so um basically, what we've managed to achieve is we never did our daylight seem, but the night seat is actually slightly more interesting. Anyway, we basically completed a scene. What we probably would have wanted to do if we had more time is to do a close up on tim to match the close up on lorraine, but probably with the less wide angle lens to emphasize the difference between their two states of mind making his slugging more of a conventional shot than hers. She was on a rather wide angle lens. And, um, you know, I was sort of very expressive leaning into the camerons of having this slight a tiny bit of distortion. Um, so basically there's sequence on dh does anybody have any questions? Does does that make sense? I mean, that's how you okay, it's both its book standard, but this's just food for thoughts and you expand from this point on which the idea about the the feet was very nice on the idea from the engineer about the hands close up is really nice. These are all the textured pieces that make scenes come to life. You be very nice if we had time to go in on be more demented on lorraine, be writing to arise, basically that's, just a very simple construction of a scene that sort of basically wouldn't cut it together and you know, of course, is lovely to have more time. And, you know, more time to play more time for camera movement. But well done, guys. That was really very convincing and really sweet of you.

Class Description

For the first time in history, a camera that costs roughly $2,500 can shoot material good enough to hold its own weight on the highest professional levels. 

Gale Tattersall, renowned Director of Photography, has been at the forefront of pushing HDDSLR's in Hollywood. He shot the season finale of House entirely on a Canon 5DMII last year. In this HDDLSR filmmaking workshop, he teaches the ins and outs of making great films with HDDLSR cameras. 

Note: Neither NBC Universal, Fox Television or any other entity involved in the production of the House M.D. program endorses or is in any way responsible for the content and production of this workshop program.


a Creativelive Student

It is a very good class, with a lot of information and exercises. It´s better to watch more than a couple of times.