Lighting Gear


HDDSLR Filmmaking


Lesson Info

Lighting Gear

I think the first thing I wanted to just show everyone that's watching in the chat room and so on and so forth is just probably a lot of this stuff is boring to a lot of you, but some people probably don't know the kinds of lighting units that we do use in the film business many in multitude, and we just have a very small selection off them this and I'm going to start basically this is a very small age of mine I think this is a two hundred what power four hundred say I'm being corrected already they take a little bit of time to warn a warmup, please and basically they're daylight balance fifty, six hundred k they're incredibly efficient compared to tungsten length such is their say throughout a hell of a lot more light for what then as you can see, they when they first start to come up that sort of heavy green nation for some very bizarre reason the smaller they are the longer they take to warm up I've never figured that one out, but you can obviously put correction jail on them to cha...

nge them to tungsten light emitting that's not something I like doing I don't know why she's to burst on preference and I like doing that very much, but on they work very nicely in the studios such as this these brilliant for documentary or low budget films because you can plug them into house household outlets. One of the issues with a gym eyes is that they always come with boxes that you drive over called ballasts, which I think what they do is to convert the voltage into regular have sold voltage into a very, very high frequency and high voltage powers, I believe is that great? I mean, it's basically an inside here, the it's an ark in so to create a narc, you need a much higher voltage them one twenty so it's basically to do without him not an electrical engineer, so but that's basically what they do, I don't need to bother switching this one on, but this is basically a big brother is a one point two killer what age in my hand? Um for the show again, you convey basically plug this into a household outlets without worrying about blowing your fuses and so on and so forth. So these sorts of lamps a very useful for going to locations where you don't have a generator where you're making maybe an interview, a documentary or even a small film in a small location and you can't afford the generator or you can't break into the power supply again a balanced which provides the very, very high frequency and high voltage in polls that basically operates on an arc inside there sort of more prone to problems a gym eyes because they're full of very complicated electronics so indem whether they can be a little bit difficult to use, you know things like that and moving on I'll actually go right the way over to here. This is a very, very tiny what we call a friend lm and basically is probably the most common lamp that's used in the entire film industry not this particular size, but for no lamps of the same basic construction from this right the way up to a twenty four killer what tungsten lamp they just they just expand proportionally and like all for nell because they have what they call a for nell lens in here which basically is is a piece of glass that's cut into concentric rings that simulated convex lens so basically you have the abilities to spot on flood them you have bond doors for controlling them. You have why isn ets swims to basically control intensity so on and so forth so that chauffeur now them very useful for projecting some what you can when you spot them in you can throw the light further across the set make it brides are in the range is really quite extreme. This is a six fifty what which is almost the same what age is there something these rate hundreds on they think no one kate again basically this is just an open face courts lightened there's the same kind of thing but it's it's not as precisely design is thief anel them which focuses that like much better that's a much crude a kind of light source and but very good bang for the buck you get an awful lot of light coming out of these for what they are I mean, you know again it's a tungsten and lamp it's not h m I and I use these a lot for just, you know, just putting light into a ceiling or into a corner or you know, but andi, I also use them a lot for diffusion because there quite efficient in terms of light output for what if I'm not using h m eyes so there's that and then a lot of people love these limbs which is a key no flow this is a thirty two yet kino flows balanced for daylight to six hundred or four tungsten, which is this spanish forum tungsten thirty two hundred k and people use these an awful lot use of a lot for illuminating green screens, blue screens they have an incredible throw to them they're incredibly efficient in terms of power I don't particularly like them for lighting the human face I don't think again that's just personal tastes a lot of people love them for that I just happen to be empress preferring tungsten light tio you know studio balance tungsten lighting to kino flows again again these are not continuous spectrum lights. Where is these are andi andi I love somebody if there's anybody in a chat room anywhere that lose whether these are continuous spectrum I suspect they're not on that mirror not continuous spectrum a gym eyes s o that's then this little guy here on this is aleppo lip deuttel spot and it's focusing well it's got a lens in it you can focus it you can basically do all kinds of things with this it's pointed up here it's got blade so you can control how much like you use you can use it. What I love these lambs for ism they're very useful for for example, you a lot of the locations that you go to people I don't like you to put things on their ceilings and screw into ceilings or beams and things like this so you can very easily get a little bit of separation on the back of an actor's had a hair like, for example by basically projecting this onto something so lightweight that you khun just literally attach it to a ceiling with a piece of painted blue tape on dh just create a little source at u n or you could even I mean I went to a a place with a very fancy bending ceiling where we weren't allowed to do anything you know there's always a solution again thinking outside the box or we did was to literally fill the hole sealing up with party berlin's white party balloons and then bounce light off it in the party balloons obviously wouldn't do any damage to the ceiling and then when we finished the job we just put a a little spike on a piece of wooden took them all down and so we were able to create a released very very nice soft phil on a ceiling where people would get very irritated if you started attaching big clamps and things like that so you know these air only counted tools that can help you do things like that we can start demonstrating all these lights after lunch once we get into creating a little seen and how we go about doing some coverage but I like to take questions on any of the light faces you see is what makes it a funeral clothe the fact that it uses the tubes the flores into atlantic city kino flow yeah I mean tino flows they have created most most fluorescent lights you see in supermarkets and in general domestic situations they don't really care very much about the kelly quality off them and you tend to find that they haven't over a lot of green in them and also they work in a certain frequency kino flows very carefully constructed so that the force for is inside that you really do create something that's very very close today light or two tungsten and I believe the frequency is much higher than by this box is much higher than regular restaurant in tubes so that you don't get any kind of flicker affected if you're shooting on a m h dean dslr and someone like a supermarket on your honor fiftieth which you might be tempted to be if you shooting at twenty four frames you often see dark bands moving very slightly down the image and that's because your cameras not in sync with the sixty cycle power supply so you need to correct that by I think cranking your shot to speed up to a six years or down to a thirtieth and you'll see that disappear because they become in sync that is that you're trying to capture a texture and the skin and that it we'll know again it's a passion personal taste I mean a lot of people use them because then I believe they're even more efficient than a gym isat the amount of light have put for what so then incredibly useful for, you know, sort of running grab interview type of situations where you you know you go to interview someone that's you're going to give you ten minutes and you can run in with these light, plug them in quickly into the power and you know and get something that looks really quite attractive I don't know I just I just find I just feel robbed the fact that it's not a continuous spectrum on dh on dh I tend to I love tungsten light because it is in continuous specter I mean my favorite light of all time is something that you hardly ever see anymore which is a carbon arc and they were the lights that we use most traditionally up to about the sixties or seventies in the big studios but they're environmentally horribly unfriendly they m basically a two carbon rods that basically are fed into each other to create an arc of just like our king to power supplies together on the the carbon burns down slowly and it's fed automatically by the mechanism inside the lamp and they they were the traditional lamps that little the big hollywood movies and them forties, fifties sixties on dh into the seventies and the trouble is that in studios they emit quite a lot of carbon dioxide and you know, smoke and dust and things that are environmentally unfriendly is one of mine the things that you know sort of in an effort to become green which is a very horrible kind of thing we've actually suffered the loss of some rather mutable devices I think pretty samborn there is nothing that can match a cathode ray tube television I think plasmas that kind of okay but when you compare him nine thousand dollars clansmen tv screen to a fifty thousand on katherine rage you, which is what we used to do. Our color timing on in a post house in hollywood, which almost don't use it anymore. The difference is intense. I mean, there the fidelity of color, them, the quality of the image. And so in this rush to be kind of efficient in this rush to be green, we've lost a lot of quality it's, kind of almost like the equivalent of, you know, mp three, you know, that we all except now I mean it's really? You know, it's, ok, but it's not, you know, um, you know, the conductor of the world's most famous orchestra every listens to an mp three of his music. He's not going to be very happy because there's a lot it's compressed and missing and certainly so forth, and it doesn't have the depth and richness that, you know it should have been, you know, we in the name of progress, I think, sadly, we've lost an awful lot of rather wonderful things and, you know, it's a couple of examples.

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.