HDDSLR Filmmaking

Lesson 7 of 26

Reviewing Student Footage

 

HDDSLR Filmmaking

Lesson 7 of 26

Reviewing Student Footage

 

Lesson Info

Reviewing Student Footage

Okay let's send that screen some footage and see how everybody got on and I suspect we shot some rather fun stuff I mean obviously we're limited here and everybody was in everybody else's shots but help him it's amazing what you can do in boast don't miss me and tend to get hold of this and put a bit more contrast in it but it's sweet you know you definitely used pieces of their shots it's good it's got energy and too nice low angle um that's that's very sweet hoosier who's angle was this well done? Nice nice one was that handheld? Yeah yeah apart from that anna kissed in the background there was pretty much in england and won it you can see how them it actually has been flattened gray on here I'm not sure whether that's the monitor what it's been hard to tell with that it's a bit washed the monitor is and the moment is a bit washington's also got this massive the man today like but, you know given a bit of contrast ing guts to this it's a sweet jordan and you know this is using absolu...

tely available line that's very sweet, you know it's a really nice shot dramatic low angle on good fun you couldn't see what you can do just with one single big soft light source it was lovely shape to the bodies and brings out all the body movement as opposed to being flat and I think that's kind of one of the things that's kind of rather important about cheating with the five years always try and create some shape within, you know, side lightings, beautiful the nice thing about sidelight to use something we'll get into tomorrow is sidelight it works when you do your reverses too few side like from one direction when you cross over to do reverses you're also aside, let s oh, it was beautiful texture and a shape so it's a really nice thing to try and do you know when you can go this's glad cam, you feel like it yet you have the feeling you really want to get in there a bit more again, you know, the quality of life, the light angle is nice it's kind of three quarterback clinton, you know, it was inevitable that we would be in each other's shots in them, you know, even that's a nice shot, you know, sweet yeah, go! You couldn't see the difference. Here we go. We've come round with the window behind us on dh suddenly the light is less interesting it's kind of flatter and not quite so interesting, at least in my mind, lady m young lady jumping snakes in the background over this smooth problems I face constantly is a dp is like trying to keep the light interesting and directors very often want to sort of shoot with the light completely flat and it's a constant battle going on trying to change the camera position to get some shape into it and she that's beautiful lithe yeah that's lovely when you start getting in there and you get get the real energy happening it's really fun you know it's it's a very different cinematic experience that being away and observing from from a long way away one she getting love you you really feel the activism hee hee hee hee nephew really blige my gun dressed this way we just before we move on does anybody have any comments or thoughts about what we did I mean I'd love to hear your suggestions to I mean if anyone has any thoughts about how we could have improved things it's very difficult like in a tiny corner with four cameras on top of each other but you know I think in general I mean some really nice stuff you know, some nice shots and when you say huh yeah like like what makes it so much more important your light and where you're like sources and and figure that out in advance because the shots with the light source with windows in it just the contrast is so much more beautiful right? Wait wait wait no it was nice having experience with every type of kind of tripod or on a different man that makes a difference in your shot here with the sliding when it was interesting to try and get what you kind of constricted by that one kind of one side to the other so you try you can going move up and down and it actually changed so much depending on whether the angles up where you're facing this way kind of moving about thiss line is a little bit short of that kind of thing it would because dances actually expensive movement it would have had being great doing that something like a six foot slider but I set that up just to show the kind of value sometimes of you could almost use anything involved and as long as it's close enough to the lens because it's sort of creates this magical depth things like bits of broken glass or plexi or you know prismatic crystal bees is and things that that even lights or reflectors and stuff like that just give you this lovely taste you that you don't even need to explain as long as it's out of focus enough and obscure enough it just adds another layer of texture and creates a kind of artificial you know feeling of death and you know I thought that worked very well from that from that perspective you know uh I know you guys were having horrible problems with the hd and I'm connected so I was wondering because I think we were kind of doing it but like you would set up the shots thinking about the ad it perhaps right? I mean, you know, out of everything the thing is just remember we've been you've seen probably a third of what we showed a lot of the shots who turned on and one day even on guards they went straight out or they will is that great? Um who knows about that? I think you're a lot of the material just went straight out on on air and so we haven't seen that so there's actually you know even in the how long to be spend shooting forty minutes this probably have a perfectly editable little sequence that you know given the musings and there's a nice feed jobs there's that beautiful swinging shot coming over the top sorry I'm getting tio you know so so there's probably a perfectly good little sequence there in in a very short period of time and you know sorry about that way neighbor james and nice nice angles like way harder than I was expecting you know, that would definitely takes some practice but it was it was great to just be able tio get a lot of angles that just holding the camera I wouldn't even be able to do with stripping in on their running in that that it was get me a more creative flexibility that's cool right the glad campbell is tough but saul address the tripod on the floor usually shoot you know level or a little bit taller that was that was a fun little angle to shoot from and trying to pull the focus uh was tough when they monitors and moving up and down the left and right but that sherman one it was it was a pretty wide and it wasn't too hard toe keep it in focus again you know, just help yourself out with the irs so it doesn't really you know, in a scene like that way, you know, purposefully going for shallow depth of field and when you're trying to cover something is it expensive is the movement of dance I mean there's no harm in just racking up the irs so so you give yourself a fighting chance of the focus you and great and grain can look great in black and white yeah, yeah I really love the chance to shoot on all the different rigs that were used incredible I've seen vince's classes he was referring to before and seeing all that equipment on the video was one thing having it in a hand that actually in front of you is completely different. I didn't I thought I knew what to expect after seeing those other glasses, but having never touched some of this equipment uh just blew me away was incredible magical I glide cam I'm sold and my favorite shot of everything we did I think was the slider and then replied that style reminds me of kind of a visual style of notice lately on a lot of the tv crime dramas medical drama shows uh that they will follow a conversation on walk right by a translucent glass wall or bottles you can use that dramatic gone tim we did a shot on house just recently where he meet beaten stealing some banks in which was believed to be re building a muscle tissue and we set up a shot where we just moved and we just went into the bank of a translucent tank that was full of red fluid on dh so it was just suddenly this big danger sign said about every second dream I mean meaning as well and when you start to think about how you could use for ground objects to say all kinds of things it starts to get really interesting you know no we can get more for did jim celeste is this going out on air? I'm not it is ok this is a nice is a sweet angle yeah, getting blends right about what the hell you know I mean first time on a like hamlet's great rattle hee hee hee hee I made them some of the high the high angles on this is me and it's five minutes of intra long transfer out the glad can I think one of the biggest takeaways I got, like, for people watching online, it would totally be worth it to rent some of this equipment toe out because, like you said, it's completely different, using it from watching wait special thanks to the next, the next uh, yeah, that is I think this is just a little guys it just all glad cameras. I'd like to see the auto fast slider. Yeah, yeah, I think that's all went out, so I think those were all on the air that is went straight out think so way definitely made a couple of reportings wait it's a lot darker. A lot more contrast than they were shooting with this that he can like him. Yeah, it's a bit hard to tell, though, because it's a different tennessee no and so it's it's hard to know where we are was hoping this was going to be the shot with booth way. Wait, that was amazing way record, because the shot was too awesome with the system handle smooth like the cameras angled off from the wall, it doesn't little bit. Yeah, I think way didn't notice the one point the m cameron slipped around to talking a bit on there, so these nasty little things that they're to trip you up

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.

Reviews

Kenna Klosterman
 

Watch this AWESOME behind the scenes video of the Gale Tatersall workshop from in-person student Jenny May Finn on YouTube: http://youtu.be/3WbR4VC1id8 Thank you Jenny May for sharing how fabulous it is to be part of the studio audience!

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.