HDDSLR Filmmaking

Lesson 2 of 26

Shooting the House Season 6 Finale

 

HDDSLR Filmmaking

Lesson 2 of 26

Shooting the House Season 6 Finale

 

Lesson Info

Shooting the House Season 6 Finale

I've skipped over a few things when we in the season six finale on house initially we thought that it would just be the very confined areas that we would shoot with the vibe d because of I'm you know allegedly working on our bellies and stuff like that in the time it would take to move the sets for every camera change and seven and so forth on the other side of incredible thing that we discovered was I mean first of all I love cannon glass canon lenses are you know I'm sure there's lots of people that have not gotten ends in I'm sure they're beautiful lenses do but I particularly love canon lenses because off the fact that they can take amazing hits in the glass without flaring on day one of the first things that happens in a rescue situation is that they they bring in those absolutely horrible rescue lights that you combined from home depot and is that that you know I call them double headed monsters that there's things that some people use for really romantic barbecues and there's li...

ke one cake warts and one k court on a horrible little stand that the dog will knock over and then you'll catch anderson fire but anyway way yeah they've got t get this withdrew but that's what they use that's what emergency rescue crews used because a very lightweight you can rush them down done also amazingly the first siri's off shots that we did after the e r crews had arrived were basically lip with those hideous lives and I believe in reality a lot of filmmaking I really do believe in not over romanticizing things for the point of the year look pretty and I really do believe in sometimes things need to look stark and they need to look uncomfortable and they need to look ugly maybe going a bit far but real is important and so it to live with those lights is probably one of the worst things I've ever done to a leading lady and we had lisa cuddy down there who was lit with those nervously when we went in clothes that we tend, do you diffusion and soften them and beautified the light the closer we got, but nevertheless we were using those lights and they were screaming right into the canon. Lenses on dh lenses stood up remarkably, too. Those sorts of lights and the internal lend reflections were really I'm very minimal relative to an awful lot of other lenses that would cost ten times more. And so that was another reason that we stayed with canon lenses. A lot of people have converted their five days or seventies and put bl mounts on them and made it a lot easier because there lenses like uh cannon cannon comeback primed us sir, his eyes comeback crimes get shot a zeiss comeback crimes but they cost a awful lot of money I think I think yeah there about five grand each and so you buy a camera for twenty five hundred then you stake your five grand cnn's audience it's and then you need six of those so it's a bit like putting a solid gold roof rack on up I don't know folks are and they're so heavy that they actually have their own tripod now yeah there they take up the holes they're about this big around I mean of course focus pullers love them because they I'm still his lenses have very little about barrel rotation between minimum focus and infinity because we don't have hands like in iran getting you know if you had focus city lenders and u n usually the mona stills camera you'd have to rotate your hand about twelve times to actually change focus where is um yeah the macro I think spends twice around macro you're just like yeah and that's one cinema lenses tend to do because usually the focus has done with the focus puller standing beside the camera and he actually wants to see on the men's the difference between five foot nine and five foot six megan market on the men so therefore there's a hell of a lot more barrel movement which makes focus a lot easier because ana still islam's they're designed to look through the viewfinder or use auto focus you know if you're shooting stills so they're not designed for cinematic cinematic graphic work so it makes it really, really hard on the focus pullers but nevertheless we stuck with it canon lenses all the way through and just because you know they were economic way could have a lot more len just and for a from back we could if we had gone to compact crimes and we already have huge prism lenses from his eyes cameras but you know, we just stuck with them canon lenses and it was the best thing we did because it gave us this beautiful quality and and that became our m o and way started the way way started loving the way the episode looked and so then the episode spread into shooting the entire episode with five d apart from one shot there's one shot in the entire episode um um which we needed to do a high speed shot. Of course with the cannon system you could only go sixty frames and we needed a shot at one hundred fifty frames that we disused a high speed. I reflects camera for that one short but as in that and then we see my shot was five d and when we have at some point very shortly stephen is going to go into explaining in great detail how we set up the cameras to capture maximum dynamic range to you know, get get into the right color space so that basically you get the very, very best out ofthe using the camera. This applies to every deer sell are not just the five deal that the menu options how you find these things, you'll have to figure out for yourself, but that's not too difficult once, you know, the basic principles involved, because, you know, without it down, when you, when you take an image, you compress the hell out of it. You turn it into an eight bit image on dh, I've got no idea. I mean, I do just about no what bits on the thames steven could probably explain that it basically means there's a lot that's danger in the image that's captured. And you know, if you can compare a video frame compared to a roar frame on a on a fine, the difference is staggering in terms of the image, the difference in momentum data, I think yeah, you know, so way stuck with the canon lenses, we personally head with them even though it was held the focus pullers and again, we're going to go in show you how we actually managed to achieve it, even though it was it was hellish.

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

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.