Introduction of Gale Tattersall41:22 2
Shooting the House Season 6 Finale07:56 3
Field Tested 5DMII Camera Settings35:41 4
Q & A25:57 5
Camera Rigs42:55 6
Filming Swing Dancers with the Rigs52:55 7
Reviewing Student Footage20:20
Audience Q & A47:25 9
BONUS: The HDDSLR Swing Dance01:20 10
Introduction to Lighting36:25 11
Demo: 5DMII vs. Video Camera05:32 12
Lighting a Daytime Scene39:40 13
Lighting Gear14:35 14
Lighting a Nighttime Scene50:28 15
Constructing a Scene pt 148:32 16
Constructing a Scene pt 21:00:55 17
Audience Q & A19:13 18
ROUGH CUT: Psychiatrist Office at Night00:53 19
Affordable Lighting Solutions46:46 21
Lighting Q&A22:55 22
House: Slow Motion Bull Ride12:30 23
Workflow Q&A31:16 24
Filming an Interrogation Scene part 143:04 25
Filming an Interrogation Scene part 21:06:08 26
Gail shot a psychiatrist scene yesterday and a nighttime scene and we cut together a really rough edit of that video just to kind of let people see in context how all those shots kind of laid together it's actually raw footage directly from the camera so it's got a little bit of additional information from the camera but we thought we just can't start the day by just showing you what was created yesterday so take a look at that I tried I I tried to do what you wanted me to do I went home I tried I just couldn't went home I made the list you told me to make with him with the pendant I told you to use used pencil it's about the pencil it's aboutthe it's about you know I can't use the pen it's what it does to my hands leaves it all my and that's where it belongs but it won't it won't wash are you can't keep a racing it's done you would do the oh go gate so and that was obviously and way did that in quite a hurry so wait obviously could do a lot less than that we didn't have time to go bra...
in much camera movement but it was good fun I think it was all part of the learning process we're going tio shoot another zine today on we wouldn't tell you what matches yet but it'll be fun and today a zay mentioned before we're going to talk about a sound for the dslr system agent ideas along system we're going to talk about little budget alternatives to the expensive lighting sometimes you need expensive lighting sometimes you can manage with a lot less and what's so amazing about aged ideas allow system is for the first time in history you can make a cinematic looking movies this is just a recap don't we didn't have to put on television good enough to put on the web and good enough to put in the movies if you have a good script in good actors and so it's all possible and on the beautiful thing imagine all is it's all within reach of absolute everybody in them I think if you have a dream to make a movie there's no reason why you can't do it anymore you know it's all about just having you know the enthusiasm, the energy to get your friends together to get a script, to think of a story, to go out and shoot you make a really cool movie so I think where we can do start is we're going to start with them steve just take years breathing through you know what this and options with the hd dslr system's own bows over to stephen them he couldn't take you all through that this is the options that you can kind of go with it like there's a bunch of third party you know applications and like plug ins that you can get for your dslr so basically you could do off camera according or you can do on camera with like you know a shock and my car like a condenser whatever you want or whatever the application you kind of need but basically way when we do our stuff we use this one which is the zoom age foreign there's a couple of the ones like this I mean there's a company called task cam and they all kind of like range around like the three hundred dollars mark they'll record election est era you know smc carter's like that and uh most of them have the xlr inputs you can so you can actually run it as like a true for channel and uh you have a quarter inch and puts us well and then you can run it and as a line out tear cameras well and like you could do twenty four bit recording which is pretty awesome but I don't do too much sound so you guys kind of like a bear with me so do we want to like set up like the boom pole way good new I mean I am I think most people I've probably seen a boom bullets let's grab the broom ball and show that way have the moon pool over there obviously it takes a little bit of um you know, practice to use a boom goal in the proper way you have to be aware of shadow is keeping it out of a short at school there we go typical rifle might move a bowl and, uh basically this is not expensive stuff it all I mean, you can spend a fortune on sound equipment that is easily they're designed to tell us go bound and you have to use it it would be hee hee hee hee is a magic that beacon using the broom ball is kind of, you know, working just above the shot you have to be careful off the shadows obviously like this on you and getting your angle so that it's obviously towards the mouth a good send and mobile operators are actually very balletic in their work. They m they move around an awful lot. They have to have the dialogue in their room in either in their head or quite a few of them carry the dialogue on a little sheet on one hand show that they know that after credit spoke and then bill speaks and they need to get over there in time to pick up that line, you know? And obviously sometimes they get it wrong take one often is a bit of a mess, but good boom ba la bridges really have this remarkable not remember remarkable scale and of course the feed for this on a normal production goes back do the sound mix them who basically, depending on the number of actors in the scene, is basically mixing from one act into the other based on the dialogue, so you'll fade one actor's microphone out, bring up the other actor, and when this is done well in nicely, a good sound mixer makes this completely seamless it's often recorded multi drag s so that you have the opposite mixing the sound later, a supposed to having it all on one drag on dh. Yeah, they're often reasons why you want tio again, this is obviously, and I can't remember the degree of acceptance on the mic front like this is from about five percent and daniel, when pointed in the right direction, other microphones that are often use specially outside or especially on a wide shots, which have a lot of headroom. Good, obviously, when did you start getting a migrant appear? If the shots got a lot of head room, the sound's going pretty ball so that's, when stand mixers will go to a level e a microphone such a cz this can you see? I'm going to show that that is a live valium, items and wireless so there's a little cable that comes after my shot little mike here, obviously on a movie or something, you know go to a great deal of effort to do things which is one to hide the mike remember being seen on the other is just orbit rustling against the fabric of your clothing you know you pick up all kinds of weird sounds do jewelry on an actress khun you know make terrible sands and all of these things until you put on headphones again it's completely and new experience when you put on headphones and listen to the sound being recorded by the microphones as when you really start to hear sounds it's rather like that thing I was saying before about how you with images if you can disconnect your brain from your eye look at the things just with your eye without your ratings are bridging them it's almost there's anything with sound I'm just a normal way in which we have is very very different too what a micro will bake up so you you obviously have to apply the same kind of principles to sound recording and getting microphones in where you can to best capture the sound and even then sometimes you sound dates get ruined by the simplest thing your helicopter plane going over on a fly might land on the microphone in it sounds like a monster when it's that close you know you know but basically these devices are incredibly economic for what they do and it's it's all part of the bank ege of low budget bill making it's got a good amount on a peak and mounted on your hot shoe and then it's pretty much like an all in one like multi track recorder I mean if if you know sound really well you'll build split it up and like you said pull individual tracks out kind of track that way it uh it's supposed to last twelve hours there's like a stamina mode that kind of comes back through here and you click it on so I mean twelve hours that's full day on to double a batteries so and it records in a way former and it actually has a time stamps that links up to a time code for all the cameras that you know but not with us a lot because there is no time I'm sure if you wanted to upgrade from this you could incorporate a mix of somewhere into this so you can balance your sand a little bit better but tim there's they actually have a kind of a mock a mixer broken you can actually kind of so s so you know there's a really excellent sound option that is in keeping with the sort of low budget principles of hd dslr sound making and and I don't believe these things to be honest it less than around three hundred dollars it's really quite remarkable I mean five years ago the nearest you could get to this would be fifteen twenty thousand dollars probably I mean on a show like house on our sand mix is gonna cart that microphones that just costs on awful lot of money I mean you know good quality they call them labs which is so you know I'm sure from the value and I don't know whether that's because a french gentleman call mr love aaliyah invented it probably somebody will know I don't but you know these can be quite expensive these companies like sanitizer that make for the excellent quality ones but you can obviously rent these things if you're just doing a movie over a weekend rather than buy them and have them sit sit around if you don't leave them all the time unless you're constantly making them so all of this stuff is available through sam is being h I mean all of them you know, rental companies and the same with the microbes is actually I'm certainly not an expensive minor run ins you know I think this migrant was about seventy dollars on is that they wouldn't be up deuce and eyes equality but certainly good enough for general sound recording no brought me in order to sensitive not is clean probably loses a few frequency in return yeah that's kind of it that's our option for san recording so pretty safe to just always monitor your levels and then set your camera to manual if you were going to use something like plural ized like do a dual sink yeah, that would be great can understand this after somebody let's let's talk about grab a seat let's talk about on blow relies on how that helps us with sinking and things like that, because I'm not sure how many people know about floor allies in the programs like that floor allies is a plug and then basically plugs into like premier final catch whatever I kind of think system that you want and basically it reads the wave links and it tries to match him up and it'll sink your for non like timecode stamp. It'll actually sink your sound, so but if you hang your camera out the window and filming a music video and it's, you know it just below in it's not going to land up? I mean it's, it doesn't do impossible things, so you kind of got really kind of work on it and adjust your sound accordingly in camera and on the on external recorder, you know? So obviously, if you if you shoot an actor with dialogue from a great distance with a long lens it's going to be less effective than being close and begin the sound. So because of the matching sound for mrs, once you start to get sort of they probably what would you say probably work within a range of about ten, fifteen feet of it's? Not too noisy yeah, the internal mike's actually pretty decent so like you could probably get ten fifteen feet but like it picks up little things so like there's some kind of like adjusting when you get it back on your timeline you gonna have to like shift stuff pretty much just like everything it's not just like a straightforward package but it's it's really easy and it's only about a hundred bucks so and they have a freedom of a too so I mean you can try it and if it doesn't work out for you you don't have to pay for it. The other thing to me aware of is if blore elisa work best if you and have your um or your settings on your camera set tio manual a steve show the other day said that it's not beginning do much and very important remember when you have a mind of their own running on a cameron to speak respectively about your employer a lot of people are being called to him on day a lot of people have learned really dreadful lessons that way by forgetting that the internal microphone is switched on on their camera and then when you come to see the music and often be very embarrassing if you remember that um that's a good tip so that's kind of it sound wise um um you want to take some questions? Yeah it's um I'm probably seriously even steven I you know, apart from having watched that's the first time I really held the moon, I watched other people do it, but now I do my best it's not someone all right, mate, how to use a mac keyboard. So a question from michael r is in order to think dialogue with video using polarized do we need an on camera audio track to think with the zoom field recorder, you can't just read your mind to be like it kind of works that way pretty cool I think final cutbacks does that I think the way we didn't mention is there is no there is there is no substitute for the good old clapper board to you know which tells you the scene number of the date number and so on and so forth that's you know, the implement on that goes back to the beginning of talkies and nobody's come up with a better device than that, and now they have, you know, sort of professional projects they haven't time code on there and all of that kind of stuff, but just that piece of wood with a piece of the I would that it's a it's the more than is, you know, announcing a cz well, you know, seen vivid eve or take three there's no substitute for that the editors will love you for doing it you know there's a iphone app that you can do it you can change the sounds and the clicking you can change it to a monkey I don't know how relevant it is that I was pretty psyched on it is it a monkey jj sounding like you smacked your door yeah pretty crazy check it out I have a question from god and know who would like to know um is there any way to get a time stamp code on the dslr files okay yeah yeah well yeah like a question from jeff branch how do you work around phantom power draining the batteries um I think you can actually turn off the phantom but it lasts for twelve hours like in the field I mean unless you're just recording for like twenty four hour days but I mean it's just to double a batteries so like twelve hours is pretty efficient when you consider that the cameras themselves switch jobs after twelve minutes at least the five d does do the old switch off after twelve all the deer solares eso it seems to be fairly irrelevant of the camera switch off. I mean, you know after a few times in the gamma switching off you have to reset anyway so why not just change the batteries in the end recorder twice today or something like that? You worried imagine you'd be worried about your cards filling up before the batteries run and question from dreamed how exactly do you maintain sound continuity most of the time the lines of the actors change from take to take so what? How exactly do you maintain sound continuity? And then they go on to say most of the time the lines of the actors change from take to take on I could probably answer that one very well I mean you I mean the lines from the actors will change fontaine today giving often an actor from take one to take five might build up warm or emotion andi that's dancing editorial thing more than anything else, having a director and an editor will end up choosing above all is that they really like it and run with that take from can't dick out this and will change somewhat and the sound perspective will change enormously as you come in to do a close up, which is why I'm sound recordings just like dps hate doing close ups a same time is during a wide shot because this am perspective is very different when you're in them shot like clears them when you're got a huge wide shot like that so you know sound recorders and gps often lineup you talked to a director when he wants a shot john like avoiding mill like this and then he wants her on three hundred mil shot on a close up of somebody at the same time because you can't that's what you've compromised the lighting and use that compromise the sound because you can't get your mind again every single sound recordist I know doesn't buzz drank in a room which is a two end of the scene everybody just stays silent for a minute and you record what they call a room joan or you know about his track amazingly that's just him elam be in bed of sounds that slade over is it is a third track on top of the dialogue, which tends to blend it all together and it's what it's what you tend to hear sort of without being conscious of it all the time anyway just ambient sound so with the combination of those techniques and of course they will amazon dramatic using on top of it usually laid role or the sound of a helicopter coming in if you're in a hospital on the sand and distant paramedics truck I'm doing that this can exams that use on house obviously at a hospital you know birds outside a window all of these sorts of things tend to blend and you know make sounds me coherent on dh so they come together is a noble thing when you add all these different elements, you know, thanks, michael r was I to know on house is one type of microphone, shotgun or lab used most often um some junge for wide shots, it is very common to use labs because you can't get the mikes in sometimes both used on the sound mix it well, we'll use a combination of both they, um sand mix has always always vowed to use a moon because it you know, the quality of the lamb is really I'm a very different quality. I mean, that was kind of right here, and it has a rather different quality to a migrant is right here and directed towards my mouth. It's it's less cleans and it begs upset of a tiny bit of rustling clothing and so on and so forth but they will very often use a combination of both and use maybe fifteen percent of the lab and seventy five or eighty five percent of the you know, the moon mix them together so it sounds kind of, you know, nice. So depending upon the count of the width of the shot, an awful lot I mean, the city is your entire day it will be a boom. Now dip it into the john just do one more question uh, black pixels wanted to know how many mike's air use shooting house and how many folly tracks do you think? All right, what was the second gone? How many folly tracks followed drugs? I'm sorry, thanks to fully jack's right I mean, you know, in a wide scene, if we have ten members of the cast its very often that every single one of them have a value a mike and then they might well be defending bond the relationship between the actors and the amount of movement that might well be at least two moons wing is in a room to boom boom ops one one or cabarrus at a number of actors and then another the other the other room or bridge will cover the other actors s so it all depends on the number of people in the scene and we you know, sometimes we have to do what they call a dea afterwards because we shoot in a situation where the sound is just unusable. I mean, for example, you know if you shoot to sound sort of on the beach with crashing waves sometimes it's impossible to get the dialogue clean enough to actually meet usable in them the sound of the graduate waves is overbearing and it's a horrible thing to ask him actors to do especially if it's an emotional scene to renew the dialogue later you know, and the way in which they do it is they watch the image they have headphones so they tried to talk in sync with they hear the track and then that repeated but grind you at the emotion in their starters sterility of a sound recording moves later is a very mean thing to do to an actor, I think because they're not in the emotion of the scene and you you're asking them to do something. Tank you called to replace something that was done from the heart and it was emotionally kind of very challenging, perhaps, and so it's, something you tried to avoid but sometimes is is unavoidable. We talked earlier about there was a question about phantom power, and a lot of people in the chat room aren't really sure what that is. Could you talk about what that isthe phantom power just basically means it's like it's, a self contained unit like it doesn't. I need, like another literally so you can actually it'll power off it like the mikes there found, empowered so you don't. The mike doesn't have to have a battery don't run from the zoom recorder. I didn't know that either, andre, I must be banned with bad and because I don't have any external.
Ratings and Reviews
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.