Introduction of Gale Tattersall


HDDSLR Filmmaking


Lesson Info

Introduction of Gale Tattersall

Things to everybody for coming and watching everybody that's watching and I really love this webinar if that's what is that the right word it is to be very interactive so more way help you the better it's going to mean more information that we could actually give it to you directly on the moor technical help that steve could give more productive this will be this appointments on dh I want this holding to work like a beverage and flow in any direction it's basically us trying to on did you what we picked up over the last few years old my case over the last millennium you know just to help people improve their filmmaking skills because really do you seriously believe that the game has changed enormously it changed with limbs in love right? Doing a uh nap movie reverie um he gets the ball off he had a couple of cannon five days and he made the movie which was really quite spectacular ring I think it blew where everybody is to what you can achieve you know it is using the hair salon before...

that it was really a very expensive property should make you move in you I really needed to rent very expensive equipment very expensive lenses and on to be quite honest I think that if you're there was a famous saying from hits got which is there's only three important things about development this script script and script rest engine doesn't matter too much I mean, it's an exaggeration, but if you have a great script, a great idea and great actors, you amazing is you get a move on gaffer tape and it'll be kind of ok, so I'm given that brennan is I really do believe that you can use to five d the seventy one neymar for all, which is that you prevent, you actually make a movie that will stand up to the examination on a large screen on dh it doesn't matter it's like grady, it doesn't matter if the repeats where it's out of focus if the story is great and it's some it's from the heart that something he wanted to just give him do it so we're basically hear all about that because what is it done, what canon gifted us with by accident, by the way? Because I'm sure everybody here knows or should know that this whole video capture on the deer sellers was really a request from photojournalist that did, you know, photographs of celebrities, and then they thought a so called him able to shoot a little beast to put on the internet and things like that, so cannon responded to that request by giving them new, compressed video, but lower building in cement improve that you could do something extremely special with it, then I picked up the bat much later than a lot of other people and ended up shooting an entire at the time the most popular network television show on earth with the camera that got to do and a half thousand dollars no gate we had our bunch of exist sarees and so on and so forth but in bridgeable you know, the fact is that suddenly the whole film ministry has become democratized because of this device that cannon of gifted to the world and what would you like to add to that stephen? I mean it's it's an incredible device on did enable was people that I think that's wonderful because now especially given the outlets you know, like them you on youtube and there's one I just saw the other day called them third reel, which is really almost like him menu for filmmakers to show movies they've made in this amazing stuff on there it's been shown on the five d seventy and it's it's beautiful it's just a matter of being smart and story warning and, you know, so that's basically why we're here is to help people sort of, you know, sort of understand the process what you could do with these cameras and now it's basically changed the world every ninety you know, we call it then five the revolution or the nature of the salon revolution them um you khun you can basically make a film for like under five hundred bucks without owning anything you could just go to the shop and you could you know any rental shop with ben if I'd be I think we price it out it was five hundred bucks and it was a five d mark two seventeen two hundred sixteen to thirty five twenty four to seventy uh soccer player type on which with fluid head red rock rig and I think that was a couple of like miscellaneous things like batteries and stuff like that and I was all under five hundred bucks and if you were student it was half of that and then I were were from back in california and sammy is if you take it out on friday you don't have to return until monday so if you had all their stuff right now you could you could make commercials you could do anything three days so they're small enough to and they're not like obtrusive when you do a lot of like guerrilla stuff with um get on buses and kind of deal not that we condone and all that but he's he's a little bit more commercial aiken think it's like kind of do whatever steve can ask a question if you order of went rent one of those lenses can check would like to know I mean you said the sixteen um what did you say? Sixty. Sixteen to thirty, forty five, seventy two, two hundred twenty four to seventy, just one of them. If you had to pick one lens, what would it be? Um, it's, probably the twenty four to seventy okay, just because it's kind of like in the middle, you know, you kind of back up from the twenty four, you kind of get closer from the seventy, so I think that would be like more of a neutral because he couldn't just have a sixty to thirty now I agree, or twenty four to one over twenty four twenty five, twenty four, twenty five, just slightly sharper. What I've noticed, too, because the twenty four to seven he's, an older building so it just seems that the glass is a little bit sharper. You do lose your aperture, though, because it's enough or not it to wait. But you know, technically you could make an enjoy a movie on twenty four to one or five. You don't have to be fancy that's. The whole point of the story is strong enough. It doesn't matter. It really doesn't get in close on the twenty four if you don't want a fact or you could back off on the one o five on the other end and it'll give you a completely different perspective and so you have all the doors in one lens of course it was lovely to have a great and it's a big lights and all of that stuff but you actually don't eat it you know there's a lot of problems that one encounters with these cameras you have to work can you go on hard to make them work but it's still worth it because it enables you to do amazing things with very very little and I think that's exciting joining thing but there's a lot of groups that started at two there's like there's like the final cut user group and then there's the domini which is all the adobe and like after effects and then there's like a like hundreds of people like all over craigslist and they always want to be like projects because the cameras there so reasonable to buy there's so many people out there with them that like you could always find someone if you put out an ad on craigslist like hey well confirmed after effects guy hey, we're looking for a post guy way need a second camera for our film like usually you'll get a response like I don't think I've ever not about response in craigslist and everybody just wants this like stuff for their real and then you meet people on someone's better than you or you're better than them like he kind of just like build a team that was actually my hardest thing it's because like, I always want to do everything myself and it was like now it's cool we're good that's why? I kind of learned everything then it's kind of a hard transition because, like, you know, get oh cd about stuff like this it's not right, it's not right. And then you gotta go, but yeah, I mean, you can really make anything with him. The thing is, do that I mean, in the case of house way, don't use them because they may cost twenty, five hundred bucks way can afford slightly more than that. You know, each of our episodes cost millions of dollars on dh, so wait, yeah, it's a lot of money, you know, just if we divide our production costs by the amount of time it spends judy it's unfortunate, so it's a lot of money and, you know, all tv shows like that because we have a crew of hundreds, we have a massive amount of reeva stated fox studios, which is permanently ours huge elector your bills and in massive production staff postproduction this does that mean I don't know the cruelest is kind of like the yellow pages on this it's unbelievable so you know the last thing in the world we were trying to do is to save money by using fine d what it was looking for and how this all came out was I used to do a lot of commercials and before I went on to house I did actually was during one of the breaks on her is that little commercial for japan because they the rebel cameron japan is called the kiss for some strange reason physical kiss on bond the client from canon obviously said well would you consider shooting this convention on the five day and I thought it was he's been smoking something and then I thought that guy must be completely off his rocker because I mean how could you possibly shoot a movie and this was actually after reverie and all of that but I hadn't really mean following that very much because it was very much a thirty five millimetre big cameras and one hundred thousand dollars jews and cranes and you know big lights and you know big bp doing all of that stuff and so got to do the commercial and then I thought well you know maybe I should take a look at is that you know I started playing with it and then I realize that my goodness the image quality is actually not do man and for on television it certainly can acceptable it's there's a few problems here in there because I said out banish the camera a bit to try to find out what I can find was wrong with it on dh you know, I'm sure everyone here knows that there are certain weaknesses with around with any camry you buying that there's a weakness with an I max it weighs five hundred pounds s oh there's always there is no above it camera on dh so it's horses for courses and using camera which works for a particular situation and then you can achieve incredible results let me use the right camera that the right situation you can do things like save a huge amount of time or capture moments that were otherwise very, very difficult to capture you khun b I'm very surreptitious using dslr cameras you khun I mean the actors almost never knew we were on the set when we weren't ended up shooting at first they thought there was surrounded by paparazzi really put off put him after a couple of days it was kind of rather wonderful not to have this huge black thing in front of your face you know, it was just somebody like, you know, when I'm on a board with them, you know and so is he gonna really anyway I diverged I ended up shooting the cannon kiss commercial on the five day and they really looked quite beautiful commercials a kind of a bit easier because obviously you don't have long running short so you don't run into the twelve minutes problem, and also generally, shots tend to be a lot more static, so it wasn't such a big issue for the bogus, which is difficult on the seventy inviting all the various cameras. I mean, focus is really tricky and that's one thing we can't deny and really striking you, you have to have I'm very lucky we have incredibly good focus pullers on house that ended up throwing away all their conventional techniques and way going to go into detail about how they achieve focus, but basically they just have guessed it by watching rehearsals and used devices such as the marshall monitor, which is an incredible tool, all of which we're going to demonstrate over the next few days. Basically. Anyway, we shot the cannon commander, sean, it was very happening received, and then I took that skill set on paris, and I started thinking, well, my goodness, there's cameras could be usual for, um, uh, all kinds of things like shuji inside gaza and confined areas, and then lo and behold, way we're just at the end of season say is that we had a script that suddenly came up that was about I'm sorry to bore everyone to death because for me a lot of people this story any way you can have it it was a story about him that's phil crane that it collapsed on top of the building on the whole thing and basically said constantine and down them so a lot of our sets were kind of like literally this high on dh you know, the very idea of using aeroflex cameras india heads that way you know, together about seventy, eighty bands and moving them around I mean, the whole set was designed to kind of pull apart in them let's lift off way would have still been shooting if we adopted that league we had a direct ical great entertainers who is our exact producer and a nice simple why don't we try you know, shooting this on the five day and, uh let me do some tests and he got great decided about it was, um I didn't think he'd go for it because obviously compared to thirty five millimeter film there is a big quality quality drop we landed there because, you know, we have compression all of that stuff and you know, but he just thought it was a great idea room did tears and again we tried to punish the camera in every possible way to find out where the problems lay and way ended up festival thinking about shooting it thoroughly scenes where we were in very small areas where we basically spent days on hands and knees and then then there was a secondary collapse and then we're on our bellies from a couple of days and then vialli's seem to be the obvious choice because we could just move it around very easily and achieve incredible results and also the irs so factor was get the massive being able to shoot him very low light levels and so there's overall so basically that's my intro to five day and how I came to fall in love with it ever since then you know we discovered a massive amount of things about it such as on you khun squeeze three cameras into a tiny corner on dh you can keep my lines from actors much tighter because when use dollies and gearheads and thirty five millimeter cameras the cameras tend to spread out and so the tide is shot the island might be quite close to the lens in the wider shot you know the the airline might be way off I mean because of the bulk of large cameras and people filling up quite a large base. So um you know, all these kind of little benefits started sort of kept me up but then we also have this idea that apart from running a and b camera which we always do on a tv show it's very rare not to run two cameras often you run a wide shot first, but once you start coverage on a zeal, you often almost always run two or three cameras way had this idea to just have a third roving cameraman that basically was up to his own devices, and we just said, just gunship, beautiful shots on dh do beautiful inserts just grab beautiful shots and you're on your own and, you know, tell them because, you know, probably everybody knows when you shoot on tv there's a hole, a bunch of people that want to see what you're shooting. I mean, like the director of the script supervisor, the writers thie produces asshole area called video village yeah, it's kinda like this. Yeah, and everybody wants to know because they want to see how the performance was in the right people often say to the director, will, that was quite my intent or that was billions or whatever it might be or, you know, the parents might say was it wasn't have been out of workers or, you know, so it needs to be seen, and people rely on it very heavily on television to get through your day's work. Basically because you obviously tried to on television, you have to move very fast, you have issued, on average, about eight pages a day that's, that's that's not hanging around you really have to move so wear clocked on every single scene we do we have to finish in a certain time soon as you start getting behind schedule then you feel this presence and producers that start to fill up video village but it's the pressure starts to build on dh you know they often say you know it's gone with the wind in the morning and dupes have has it in the afternoon on television because it it it feels like that you know things are often very kind of gentle and nice and then suddenly we or realize that we're two hours behind schedule let me have just let it go like crazy is to get our shed yule done that day within allocated hours because it costs a lot of money to do overtime and so on and so forth so um you know, so way we still use the five d four a lot of stuff we use it for doing all our car interiors we use it for any time you want to you know, so get into confined areas and it's faster too just get the camera up against the world because you know a five d can be just this long where is it unmarried with I assume is this long and you suddenly made yourself it should have two or three feet narrower and things like that you know, it's, also much easier to just going to take him on and put up there or flip, killed him in stabilize iran and rest your hands on the wall, and you've got a great shot. And then just recently, rodney, chances use good body and a fellow explorer of light with cannon, and we'll probably end up here short, I'm sure uses the sixty day because it's gonna swivel able, do you find so we can put a camera up on a wall and swivel the viewfinder and get a beautiful shot just like that without having to cut a hole in the wall or remove a wall? And, you know, so there was so many uses for these cameras, and we use them all the time, and, you know, this is just a show that we don't use them because they're cheap, they're just incredibly useful on dh. One thing that the reason I like the five b more than the seventy and more than them one b mark for is because it's got the largest sensor of all the cameras, and what that translates to me is that I used in the right way it can give you the shallow, a step on the field, the larger the sense of the shallow depth, the village, the same if you go from thirty five to do in a quarter of two four by five to eight by ten you doing to expand on that a little bit what tipped over just yet the just you know you know this size of sentences yeah so basically the five won the one reason that they use for five days because it's a full frame so they can utilize all the beautiful primes that can invest offer because like I mean it's one six on the seventy not that it's a bad camera but I mean you you lose a lot it's uh what is it? Forty forty five percent smaller than a one year will be marked forty five percent so it is called so and then I kind of like lost right wass we're talking about the one point six frame and so the crop factors because the of seventies a one point six the one b mark floors of one point three which is which is not bad as well but it's still kind of like grabs it out and kind of pops it out but I would definitely rather shoot with five b mark to instead of uh until until the day acela's actually dslr started shooting video the only option we have was camcorders which were absolutely disgusting I mean I mean everything from the dust on the front of the lens to invented it was in focus just looked horrible and you know it use of shallow depth of field is an incredibly important tool in filmmaking because it enables you to focus on, you know, get inside an actor's head, you could make everything around it just disappear and beginning marsh become an important you can save your fortune in terms of our direction, you don't need to put the perfect patty, you're on the wall behind on active because you could basically just come right in anything almost a cz long as you keep the light off a little bit on d focus and get away with the war made of fish boxes, it wouldn't matter. You know, this is how you can not really creative using shallow depth of field you can really, so not only is it cheap do by rent, whatever it's great do you don't have a film processing course? You didn't it's a very green, I think in and of nasty chemicals from film processing, you know you can also keep your room, your sets kind of limited you can shoot him terribly sitting four sets and create illusion just by lines and then there's one of the things I love, I mean even though no twenty four if you shoot it one two or something like that, you're fairly close to an actor in in this sad on hers way should most of our scripts in the hospital and hospitals look pretty damn boring I mean they're not very interesting places to look at a sort of full of jangling architecture which is distracting to the eye and even on thirty five I mean our fasters lenses honorary system would where I'm you know, we're good about one three years but we basically use coal gas for switching team two's and uh, with any kind of wide angle that is you really see the background quite clearly clearly and unless you took the light off it on dh you made it less prominent on it was always still a distraction. So when it came to shooting the season finale, for example, we wanted to be inside hugh laurie's head on dh we did not by shooting a massive amanda want you in one of all way even had that lens that makes the best of focus pullers quaking in these air fifty million t one which has about depth of field of amat flies eyeball I mean, the reason that the village if you use it a t one minutes you can focus one eye and the other eyes completely out of focus and you wouldn't even recognize it we hear back here it's so so out of focus, so use this to kind of, you know, it's a tool just like anything else like darling or tracking or, you know, uh all the other devices competition have to you know, sort of you know, lighting all all of the devices using film depth of field is very definitely a very important one of them and that I'm never existed until the dea salah's I'm ok let's take some questions on what we've I had a question when you're shooting wide open like that to use a neutral density filter a polarizer or just keep your lights very low that's a good question I am keep the light's very low in the sand there's there's something that we go into later is thie native irs owes steve don't take everyone through but I've always bait cannon if they'll give me a ten irs on their camera s so that I could shoot his wide open as possible even on exterior is because you know even at one sixty you find yourself shooting in twenty two outside and as she put an nd on them s o I'm luckily most of episode this season finale on season six was under my control it was all I was able to control it by lighting and just keeping the light levels down very low on de specially for those certain scenes lou on dh condoning it by the irs so I actually often broke one of my own the rule was which is you know on dh shot at one hundred irs so which gives you a tiny bit of noise but you know, like, I'm very lucky because I have a a lot of helping those production and a bit of noise reduction, so they got rid of that fairly easily can you do noise reduction in aftereffects? Does it do it do anything but you know, so when you shoot with the india's, though, sometimes they give you a cast like the depending on like, who makes him like the coatings, sometimes you'll get, like, a weird magenta shift or something like that, just you always got to be careful about dropping and all that stuff, you know, you'll say you you know what? You shoot with them these? I mean, the thing that I really hate about shooting with their leases when you go outside, ending glaringly bright day, you get lots of little hits off chrome parts of cars or something like that. They go straight through the filled to reflect off the front of the curve, cover front element bands back onto the hilton and you shoot him again on dh look absolutely horrible and it's on dive, I've bean looking at the possibility of getting filters on the back of the lens, but it's it's pretty tricky with all the electrical connections and some things that were also it is one thing that I wouldn't love, you know, as we know, I mean this quite a few camcorders and have built in andy's and you know that would be great but it's no uh I mean some people have been mended a map box systems where the filter ends up forty five degrees but then you have to have such a massive filter the coverage on a wide angle lens that you know you almost think the object of having a small camera you know so I tried to avoid andy's at all costs and you know that it's tough sometimes you know sometimes you have no choice no way questions way got it is everybody dead like them no there's a lot of questions tweet what do you mean when you say you're about fifty million what do you mean when you say t one with that they made a land still about six years ago which was the vast his lens that can ever made in anticipation the antiwar I think he means the difference between teen oh sorry yeah any difference of enough there isn't really a really never nothing tnf it's just that in the film business for some reason we always talking t stocks because it's it's actual transmission and can vary it means you know in f stop is the theoretical value off the aperture and t stop is the actual technical transmitted amount and that can very, very very slightly and you know it shouldn't but sometimes it does so it in the film because they always say we always used to see stocks instead of the one point here that actually one out there somewhere horribly expensive it's it's optically brizzi wrong, but if you if you need that kind of lying to me lee gives you another I see what is the difference if you want one too it's another half stop or something? Isn't it's going to be I think it's fair? Yeah, something but you know, if you're shooting, even even when you stop that cleansed and divide six is still optically not as good as the one to war I got to know what stops it come in there's one two there's one for and one eight isn't yeah thinks he s oh it's you know it's just great if you need that last little glimmer of light and or you're actually sort of trying to drive your focus pullers insane used it because everything I was trying to do on the finale was to make their lives hell very shallow depth of field they still love me how didn't them coming way have question from the chat room from james meyers, who wanted to know if h d d slr video will ever replace full size film cameras on dwyer? Why not, uh well, I think when you take that one state that's a really good one for you I don't think you could replace it I mean seeing is like there's things like the alexa out there but I mean it could definitely be comparable so I think cannons actually working on a four k chip they tested it I think they showed it to a year and a half ago it was just kind of like a box it was like a concept so I mean pretty soon we'll see like four khd asshole lars and stuff but I think just because like the small things they just they have lovely restrictions there's love like like I r and noise and compressions and stuff like that so we kind of got like work around those so if they do replace it it's not going to be a for a little while and what was the electoral camera that you talked about the area lexa that's what they shoot with on house yeah you were finally changing from film to digital on dh digitally in the digital world at the moment there's basically the genesis which is a television camera there's a siri's off cameras from red who've been around for a few years on dh just over that eighteen months ago actually about two years you reflects came out with something called indeed twenty one and then just improved on it's enormously by coming out in the new model about a year ago called the alexa it's a pretty phenomenal camera and I mean it has assed far as I'm concerned, it has the same dynamic range is film, which is the first time that I've seen that done my fantastic possible that read new do, but I haven't tested that so it's, basically, digital really is catching film, and so sadly, the age of film is it's really so very limited now, because there's a point at which not enough people by then submit, you know it all dies, and because the machinery doesn't work anymore, the economic your butt as that we're going to the alexa and it's and it's, a pretty amazing camera, but it works perfectly in conjunction with the five d, when we need to find a lever, insert shots or car interiors or inserts in you said that, you know, or a set of lip using them very, very shallow depth of field because of the large sense, because the sensor on the five is way bigger than the alexa thehe, lex is just basically like a sixteen sixteen by nine frame, just as we had on motion picture film that ran vertically and it's, a three birth system to save film. So it's, not a huge film, it's probably, actually, I can't remember the proportion is it? But it's double the real estate isn't saying anything that's why I asked all these really s o u you know, on the five d basically got about double the real estate that you're shooting on that translate into shallow depth of field you know, this stuff that I love and it's a fifty thousand dollars just for the body yeah, and then you used out of the lenses which rolled ten grand each and the batteries and monitors and rigging and then the area head to is a thirty five hundred dollars that's just for the head twenty five hundred dollars that was pretty good after that. Yeah so yeah, I think that's a that's a really good point I mean, you know you've got that which is like by the time you've got your kit your boxes and all of that is like half a million bucks and then you've got theirs which you know, as steve said, you could make a movie for five hundred bucks in the weekend over the weekend, you know? So that's focus like when you're making all the phones and stuff like because when I usedto to shoot a lot of like magazine editorial on all like on to shoot on the p eighty two back have eighty two megapixel but well for I mean you could you could do eight by ten ads with the twenty you know it megapixels, so I mean, you kind of got to use it for what you have I mean I mean it's not that everybody is going to start shooting features immediately so I mean to be mean you your film will be seen immediately all the way around the world you could never do that in the film industry so I think it's kind of part of the revolution that's what I like about it the most is like everybody concede aware and then when people see it they like it like l said if you have if you have the script to back it up somebody will find you so zen you know I can't quote the rial but I heard something like the proportion of films submitted tio I'm some dams this year was something like twenty five percent there were shots on hdgs ella's which is bring amazing when you think about it so it's it's this enabling of people that I think is really sure uh hey steve um can you just tell us I mean you have all this knowledge about off camera gear can you just tell us where how where he learned all of this I learned where did you go to school for this? You know, this is all on him. I pretty much started shooting when I was like eleven like I had kodak like brownie cameras you know, shot stills shot film from my whole life just always was picking up like super eight cameras and just kind of like wanting more but I learned by like reverse engineering like I'll take what people have built and then kind of just dissected and go backwards through it but most the time they were just google because I would run into airs I'd be like render what's what does that mean? So then I go in the final cut all right, go on to google and then I get on the final cut for I'm gonna be like I got render blue and and some of the guy had it and then he didn't know how to fix it and then I kind of just learned by the internet and then just trial in there and just kept going back and forth through stuff but the one reason I started shooting though it's because I usedto be on a bunch of the am teams for like snowboarding and stephan whenever I was hurt I would sit on the sidelines and shoot and then I kind of evolved into like extreme sports editorial stuff and then eventually like picked up video but then just kind of got back and forth and started retouching and then from re touching my transition in the after effects and then after you no after effects like final patton premier they were just kind of really easy just because you were just cutting it up there was no really compositing coloring so it's kind of one of those kids that like I said like I I always had to be a one man team because that was the only one of my friends that was like a film guy everybody else I'm gonna go make money and I was like I'm going to be a filmmakers so I mean I went to school for computer engineering and so ended up being a filmmaker so yourself talk yeah basically after all that so but yeah I mean you can literally teach yourself anything if you have like the willpower to do it like I didn't go out you know smoke or drink could do any of that kind of stuff I sit home you know I don't go anywhere on friday night like I'm sitting there reading books and being certified and doing all that stuff it's just I guess it's just your passion it's just your drive to do it I mean if you have a big enough drive you'll do it no matter what I mean because everybody else they're kind of just get over it they won't make enough money are they just won't be star struck or something like that now kind of fall off by default but if you just keep going like you eventually make it so it's very clear what I do yeah so it's it's it's really cool to have you here steve because we have you know two different very different perspectives of where you are in your career versus where gayle is yeah, no he helpful for me, it's it's really cool because when I first started, like picking it up I've seen I've worked it was like a lot of people and I just really liked the way he like explained composition and how you like evolved from, like a filmmaker are from like a photographer into it and he shot large format he got all this composition from italy photography and he's done traditional black and white like printing, and he got a lot of his lighting techniques by, like, shading in the darkroom and stuff and, like that's that's kind of how I like gone into it and I was hey just kind of thought a lot like, you know, kind of the same as I did, so I have eventually evolved into one of his classes and then just kind of went from there and here you are and now here I am, a pretty love and it's where could have seen every single one of these, you know, they're pumping carbon one like watching think, yeah, it was actually pretty awesome way brought all the tools and are sucked and they broke, but it was still cool, but yeah, it actually worked out, but yeah, I'd never thought I'd be sitting here actually teaching on creative lives, so it is actually really amazing to be here

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.