Workflow Q&A


HDDSLR Filmmaking


Lesson Info

Workflow Q&A

First and foremost like if you're working and final cut seven, you have to transcoder all your media and kind of bring it in and yeah, I need questions, I can't just speak about it, I'm not I'm not a spokesperson. Sorry. So what? What do you think? Uh, major differences now too? I'm familiar with this premiere pro versus final cut pro ex final cut pro lax? Yeah, we'll find that pro acts is still relatively new and there's a lot of features that kind of got misplace so sure that they're kind of working on it, but like it's really fast and efficient, so basically they just took the old final pit they made it sixty four bit and then just kind of made it like more user friendly kind of mohr of lycan movie driven crowd and then premieres just kind of it's holds it's kind of like same professional value, but it's also sixty four bit and they're both native to dslr so it's just it's really is because it just goes in and then actually trans codes in the background while you're working, so ques...

tions are flooding in now way have a question from monitor studio who would like to know the best kodak to edit five d mark to video and final cut final cut seven found at seven yeah, we use the progress like we just use the I m pei extreme clip to transport it to the pros forty two and you can do the h q or whatever depending on the project that you're looking for question from movies by day pool how do you sort your footage before editing um sometimes I'll actually do an aperture just so I can kind of like proof it and I can just put him in stacks and just you can kind of view him all in one and then you kind of just label them and then just just group it and exported accordingly and then just open it up and bins in your timeline question from d j centauri how much color correction is possible with the hdl solares? I heard that because of low color sampling rate it could be problematic yeah it's it's definitely a lot easier if you kind of maintain your color and just really like focusing on like using the technicolor profile or using the settings that we use because that will actually give you that like slight more dynamic range and it gives you a really flat image so you can just draw your contrast in saturation back in but after that you're pretty limited on the dslr so building on the question earlier when you talked about using question from april is how do you organize your files for a project both audio files and the video file so you talked about video well, I did the ones in aperture, but as far as like the audio files, like I kind of let like the sound guy come in and then depending if they need to be linked out like I'll send a reference and like he'll do it in pro tools or he'll do it in logic and like what kind of just line it up or if you're doing, you know, like, music videos and, like, you have the sound, like, just a reference of that, you can actually use the plural eyes and link up your stuff, okay? I feel like I'm learning a language here. Johnny five o six what are the advantages of trans coding to four to two or four for four for since the compression is native age two, six four um it's kind of like, uh if forty two is like supposedly the the five is supposed to be forty one, but it's probably like more like four one zero it's, not it's, not as good as everybody thinks it is, but basically, if you were to do it to forty two or four four, four, you're just funneling it in it's like taking a firewire eight hundred and plug it in and or four hundred, and you're only going to get that same amount information like it just it doesn't matter if the flick the file says four, four four you're never going to get that data out unless your cameras actually doing it, you can't say it was not yeah, you just can't out praise your file so it's just it's pointless to do that, so just forty two is like the best you're going to get out of it. A question from a coal any thoughts on avenue d n x hd versus apple? Kotick um, it just depends on what system you're editing in like I mean it's if you coated it for added like cabinet wouldn't work in final pit and vice versa. So for all the avid users, stay in thirty two bit casey would like to know what's the best color correction plug in plug in I mean red giant like all the magic bullet stuff, this kind of cool to give you all these kind of unique looks kind of twist there the pretty efficient and then if you actually have after effects there's a generator that you can open up by an additional serial number. It's called a synthetic aperture it's made by color finesse and it's actually a full grading suite inside of the adobe so that one's pretty good that would be like the most efficient if you were actually wanted to do full grades but as faras a plug in that would be universal would probably be like the magic bullet sweets because they goingto final premiere whatever one a workflow question from ola, do you have to compress your h two six four two pros fortune to to reduce rendering issues you have to natively for final cut seven, but it will go straight into a premier prone final cadaques rich western would like to know what coded you see you'd like to see coming out of the next fight be, um, it would be cool if it was progress or it would be cool if it was just being compressed altogether, but yeah, they're coming at you like a bullet. Yes, radio quest question from elvis castillo is, is there a way in post after effects, et cetera, to simulate slo mo or super slow mo when editing five d footed shot at twenty four frames per second? Yeah, it's, a program called twixt er like you, khun kind of do it like if you look up twixt or on the internet, there's like a million demos of like rain and all that stuff, but it works better and after effects, I wouldn't get the plug in directly to premier or final cut just because of the render engines. Like for effects is made to kind of be a program like that and it kind of just splits it up in tow individual like clusters. So question from harry I would like to know the shutter speed for tracking shots and the fx like just panning and stuff that's question uh, first of all, you got to watch out for that rolling shatter on the five because something is amazing, but I mean, if you speed up your shutter speed, you're going to kind of get that really like sharp like liturgy move and like when you slow it down it's still going to come through so it's kind of hard to get justice, you would have to do it by I ok, next question is from harris picks using a t two I and vic cia hb thirty how would you work with h d b and h two six four in premier? Would you end up with fourteen forty or nineteen twenty aspect ratio? I would go down because when you go up you uh it starts to like, pixelated like break up so you can only go as big as your smallest piece of footage question from nick justice what are some ways to integrate hd lesar footage with other formats thirty five millimeter red camera or are they just too different um he used together actually he's the one for that one way and into cut five d four ginge with thirty five millimeter footage all the time and is this coming season and will be into cutting and I've devoted directly with footage from the area legs and then I think it depends what it is and if it's if it's probably exposed and you knew what the nature of the material is but there's absolutely no reason why you shouldn't be able to win to get very easily, especially if you difficult to god so when when you're indicating five stuff generated on the five the wide joints with wide shot shot on thirty five millimeter all the election because it's the lack of definition on wide shots which gives the game away once you go in close, I think you you really can't do it in a very, very seamless ban esso and anything it's an issue it's um five the wide shots put right next to him thirty five or in the lexx or a red or a genesis wide shot will definitely show up, you know, so that's the area to avoid ever really question because of the limited dynamic range, I've noticed that if you're trying to shoot some people in the foreground and there's clouds uh it's really hard to avoid peeking in your clouds, is there any way around that I think you can possibly I mean it's that's the same issue even though the dynamic range is obviously less on the vibe d I mean we all talk about it being kind of ten ish stops and it's about voting on film even on film you run into those problems so you tend to solve them in the same way as you do on film don't worry director about moving the short slightly bring in a big tree branch behind unless you need it does it might rather strange but anything you khun dude you just basically get in some background and avoid a bride sky or on light up your actors maintaining the contrast can draw the contrast you know because it'll be suddenly just smashed some light at them from where the cameras it'll just go flat horrible if you can maintain your contrast ratio and build the lights up on your actors um other ways you're doing it taken them to job the five the shallow depth of field in using a black net behind your actors and shoot on along the land so you can cut down your background by I stop or so seven times uh you might well finally you have to share their your black net to stop this sunlight hitting that black net because that can show up so you often need lid over the black net so it can get a little bit involved but there are ways around it but no more than you're going to encompass shooting film which when you're sort of you know the dynamic range is being ripped to bars it both hands you know great another question for steve from she c h nor in how do you work with shutter speed when you're planning to use twixt er shoot sixty p and change shutter speed to match final frame rate after using twister uh shutters feed and sixty feet so what was the question okay just leave it on the same shutter speed and like I mean yeah sixties definitely better than thirty and twenty for when you're going to expand on frames but it's the same look for your shutter though I mean if you wanted that really like glitchy like liturgy it's it's all going to be by your eye and then you can have two just busted out in the color generator and do whatever you need to do it and I loved you just say something I mean I'm afraid totally underwhelmed by twixt er I mean it's like every time I ever seen it and retirement kind of just about works it's usually a guy on a bmx bicycle against it completely plain white sky or something in which case it kind of just about works but a city issue choose something against a complicated on rather detailed background and you expect twixt id to imagine what's behind all those different frames you're asking an awful lot of kind of a cheap sorry blufgan there is no there is no, it really isn't a solution for high speed footage and especially if you're shooting against a complicated back man, if you were you shooting into something organic like trees, you might get away with a little bit of it, but as soon as she shoot against anything geometric like building with complicated line structures and things like that, I think it really falls apartment that's my bus in opinion hasty keep people keep saying sixty p you get sixty pee off of a five day mark to know it's just thirty and twenty four okay, unless you have a house like I think you know the emotion there talking about the rebels and ok, sixty d's and actually every camera but five uh, missing not really because you have the chip. Yeah, so? So it is very much in line with what gail was just talking about at our place. We do a lot of integrating footage like because we can't shoot the whole thing on a red because of speed or timing or budget or whatever we select clips same thing with the phantom and so there's a lot of integration with those two we have done a lot of playing around with with twister and I'm actually know the exactly clip the referencing with the bmx guy and it looks beautiful that's the only clip that I've ever seen a okay, so like my kind of leading right now but mike my question is because of that is that a primary direction that you think the camera manufacturers are going to go is basically with chip size and with frame rate I end up talking behind closed doors a lot of manufacturers and I'm interested to find out what you guys think the right direction is for for the camera manufactures to go I think it's interesting to see that already companies like panasonic and soniya already they you know they're now talk about shallow depth of field it was like wow, they talk about shouted at the field how incredible that's unbelievable them they used to make these horrible process human video cameras where, you know, even the dust on the front of the lens to infinity was in focus and they look disgusting. And, uh so I think it's something that people have become aware off because you know that the huge thing of reason on the van of the vibe is just because you can when you shoot it one two and you can create this absolutely fabulous photographic cinematic graphic feeling on camera that cost two and a half grand it's mind blowing and it's why uh um I promise you have never done a porno film but that's uh the lean the reason I would sort of by joyce use our approach even video camera because look this casting the fact that you can't you you've lost one of the major tools in your arsenal in terms of creative image making and allowing focused of all off even when we did a demo of the other day and we put one of the video cameras that guy's using next to revive d on dh matched exactly a thirty five millimeter shot we had the five d says that one for I think and these cameras I think one willing and everything was focus off these and on the five do you have this beautiful fall off you could choose where you wanted the focus and rank focus between the foreground and the background so I think we're over seeking is he um like the f three and like I can't remember the names of all those cameras what they have one hundred three yeah I wish they'd give them names instead of these in the arctic codes I mean you know I just we should you know now they are starting to give us bigger sentences and so I think that's one direction we'll certainly see them going in I think on the limitations of dslr cameras is that high speed is difficult I mean just when you take something like the red camera has to have a wretched fan in there to keep the sense of from doing a meltdown and they shut off all the time and so wendy as allows any way probably we've got to be very close to the limit of what they can do built into such a tiny body you know, that's it's my my feelings that as that the technology that keeps those sensors cool and why not is that gets smaller that that's really one of the directions that was like with faster frame rates is is one of the I mean, we see it with seventy right now it's sixty um just it's to me, it's fascinating that that the technology is happening at a relatively could I mean, even the comet smaller they the epic is than his predecessors, and I think the fan influx is actually smaller than the phantom for reliable, so I'm just wondering if if, uh maybe fantasizing a little bit that will get some of these types of technologies in a smaller package? Yeah, I'm sure we will I mean, it's it's happening it's um and you know, I'm not sure how what what's difficult I think is that companies like canon and they're so being that they their reaction time is counting on my very intimately aware with her how big and respectfully slum they don't make very many mistakes let's say, but they certainly don't take any chances no actually s o you know but I think you know in terms of the slr as we're getting very close to cover single image of what a canoe new and but isn't it great I mean the fact we were just sitting here now talking about the fact that you can actually make a movie and get away with it from and the price of a dslr and that's and if you're shooting a bmx biker against a blinks guy then you don't need to have a fan in flex because you also have a ten dollar plugging and I'm sure you know so it is it is wonderful what they've achieved so far it I mean what a what a great gift you know I mean this was not our symbol of your years ago I couldn't agree more think thanks a lot guys thank you thank you thank you for being here today think think well we could just ask for us to better kodak will you be happy with that? Just give us something a little bit better than eighty six for and will be greedy at least right now gil you're also seeing forty twenty ten s o I think I think that would be wonderful. I mean, I actually had a meeting with captain executives and and I said can I have ten irs when they looked at me like I was from another planet I was and they didn't understand that the question beyond the question which was loved to be able to have you shallow depth of field outside without having to be forced to use andy filters, which I hate you know, I hate putting glass on camera lenses because it's a damage to begin to do some damage somewhere down the road, especially shooting in l a where you you know, most angst areas you've got, you know, a million chrome bumpers that have all got little highlights all over them. And then it looks just wrote asking it was bounced off the inside of your end the one point six fields or whatever bill, do you happen to have on, you know, so and I suppose that is the reason that a lot of bro's human video cameras have the nd villages building inside somewhere I wish, you know, there's an awful lot of there's, a huge wish list, you know, but having very slow I esos will be won on tum, you know, that would help in always saying people, uh, time that we give, all right, there's, no shortage of questions, so we'll just keep rolling out a couple. You take your ball. All right? This one is from r s v p studios when using ten adp footage to do your movie if you have to do a higher frame rate from a seventy year at seven twenty p how do we drop that into a ten eighty p timeline on final cut? You're just you're going to expand it and it's not gonna look and kind of good though just because like you're taking it, you're stretching it you're stretching a pixel so you're going to see it on the time line so you're just gonna have to scale it accordingly when it's under time of kids your timeline is going to be ten adp so you're just gonna have to stretch your seven twenty to match your ten eighty thank you. Another question for you, steve from larry cha when exporting to final cut what quick time settings do like to use for different uses like dvd burning blue ray discs, web shows for exporting from or to exporting from his question. But if two makes more sense than oh well exporting tio for final cut seven and always has to be the programs for it to be like needs are read natively but exporting from it's just kind of whatever you're looking for like tio dvd or but when I keep all my stuff archival I just leave it in the program's format but all dvds like the mpeg to even the blue river runs on and pick two for the web always use h two six four has got the best compression, so yeah I'm glad you're getting all these questions I would never yeah, they just keep coming caliphate would like to know what your opinion on small sent a small sense of pro sumer camcorders like the sony e x one and x three with thirty five millimeter adapters to be able to fit an icon and other shallow depth of field glass to get a similar look. Um, man, being like this big for one like that, all the latest adapters and stuff they give you kind of the depth of field, but they they're still nowhere near like even what? Like a t two I could dio so I would probably kind of gombe or if you're looking for depth of field it's definitely going to be like on the bigger chips on the five b or any kind of the dslr is just because they work natively because it's, you know, it's an slr amount. It is a lot of hard work and on also for them to work that you yourself, me going back into the world of expensive pl mount lenses, a cz well, which kind of defeats the purpose of the object you using a crappy camera too? Basically, john, make it look good by going sort of through the hoops to s o I think those days and kind of dead you're using that stuff you'll lose generations equality to just because you're going through that winds to another lends to a mirror bouncing through a thirty five millimetre adapter so you're just gonna offer b she was spinning round there's a hamster in there and he's so great. Thank you. Uh mickey had asked what is the best method of postproduction noise reduction? We do it in after effects so there's there's all sorts of, like built in like generators but like gail said he said his visual effects guys tested the five day and they said most of the noises in the blue channel so anything that you can break into individual channels and adjust manually would probably be the best that's about to go. I guess the question is, do you ever see tv shows or commercials being exclusively used by cameras by dea solares there's a bunch of them? Oh, yeah, I mean, you see it going in that direction where it's already in that direction I mean, I mean, not exclusively but like everybody's I mean there's always going to be different cameras, but they shoot commercials all the time just because they're so small and efficient. I think gm did one of their new commercials on the five d and like he works on the shows and they intercut it all the time and they're just you could have twelve for the price of, like, one epic, so it's just really easy, so you think it'll just move more and more in that direction? Uh, yeah, it kind of just I guess I would just depend on like we're like chasing gail kind of like all the pros kind of shape it to go. I mean, it could be one of those things that falls off, but I don't think so I can, I can say just headed that about fifty percent or more of the commercials that I'm doing are either shot exclusively on it's, just a large or integrate them with other stuff, and it, as I mentioned earlier, a lot of the work that we do when there are select shots like like when they was saying he needed to use that other camera that had a fast frame rate when you need to do a specific shot, then you have a camera for that specific shot and the crew that's required to run that is a much different crew or doesn't have to be, but it's like it's, a it's, an area of specialization so the way we handle it or my my joint handles it is yes segment that stuff that needs the high specialization with lighting, for example, you need a bunch of ten case to shoot a phantom well you don't want to have the phantom shooting the whole thing is that every time you do a lighting change you got well, these ten k's around, so I'd say fifty percent or more of the commercials and video projects that we do are a chiseler and it's going further, and I don't think people are necessary targeting hdtvs are as we're not. We're all going for the hd dslr thing, I think what they're thinking about his speed, swiftness, money as balanced to the quality of the image says the quality and the tickets gets better and as the I mean arguably the epic is it's smaller and easier to work with than its predecessors, so we're seeing a convergence on efficiency more than any camera, body or title or platform would you get when you get that? Yeah, yeah, I would absolutely agree with that. I think you know it's horses for courses. I think that's absolutely right. You know, the number will be a perfect camera that never will be one. You know, it's either going to be two big things too small for other things, too, the images to compress for this or, you know, it's not fast enough for lance. I mean, the never will be one camera that achieves everything I mean, I'd love to shoot eight by ten motion picture I'd love to see the machine that shot eight by ten dreams you know, eight by ten inch frames you know, because I'm a financing about large format but I don't think you'll see it any time soon, you know? But I mean, I should have brought in folks I mean, he would love to see the camera I've got a helmet zoot sixteen by twenty andi it's got like seven feet tall made of bargain in bras and and it was built in nineteen oh two and you know it's not all that long yearned to think there's probably a bunch of guys in victorian tor pats too we're standing around saying my goodness, look at the technology it's incredible there's nineteen oh two it's really not all that long ago and you know, I have things have changed and you know, so we will always be using a range of different cameras depending upon the job and the dynamics and the time in the budget and you know, there's so many factors you know that little never change and have you amusing that, um there's a camera that just came out some guys invented where everything you can select the focus yeah, the plan optics you choose folk to focus after the line of capturing edge incredible I mean, I was only fifty million to develop a technology, so we'll see it any day now yeah, I mean it's unbelievable. Where? It's, where it's going? You knows what we'll be looking at next year and, you know, I think it's uh, I love it. I mean, I love all that stuff and I think to go specifically the question, though it's it's not people aren't moving towards h d slr, like it's toward efficiency is toward, like, like a camera that solves as many of the problems that gilles, you know, mentioning as possible and then that's just going to be the one that gets used the most and right now that balances between budget and size and speed, because speed tends to be in line with budget too. So it's not ensure the technology that's that is the platform where the most people are putting the most money and time into right now and it's experiencing a huge growth because there's people who couldn't play in the game now and that can play so don't get too hung up on the format, you know? I mean, I feel like that's the that's, the take away from that so it's not because of the different aesthetic. Well, well, I think that that's kind of the get in the door and you have to be able to have that aesthetic to be in the pro look, if you can't choose your depth the field, then you're not really you know it's like you're not in the pga if you can't get up and hit it down the middle of fairway every day, you know every time there's a matter of ten people watching or ten million people that's like to get in the door and the same thing which h e de solares like that it's the look that that that that is it makes possible that is the kind of the hassle tax or the entry fee if you will nothing outside that is really a professional all right, well, thank you chase for joining us thank you so much is really nice. We're going toe I want to say it's been so amazing having you both you gentlemen here and to sit in the audience into sit at home and watch it was the amount of knowledge that that's getting poured out here under the screen is pretty. I mean, like you guys answered you're on like a question every five seconds there for a while which that's a lot of that material you can really until now you could only learn by being in the trenches for five, ten, twenty years so we all humbly thank you very much oh it's such a pleasure being here thanks so much and thanks for having us

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.