So here we go let's just get started um we're going to be doing quite a lot of stuff with the next three days last year was ambitious eleven months ago we had another workshop where this is like kind of part two of that build upon it but I mentioned last year's workshop a little bit and this is primarily geared towards people moving from stills and emotion so if you haven't been to film school you're in the in crowd if you are a film student there's still plenty of stuff here to learn or to brush up on specifically related like the gear and the methodology of using his hds lars so you may have a master's degree or be a twenty year veteran director or producer or dp whatever but you don't know how to use these cameras so we're going to kind of try and make sure everyone's happy uh let's just jump into day one what we're doing today we're going to little introduction which we're doing now going to kind of meet uh the participants on stage um we're going jump into gear the main difference...
I would say between this course in the last one if you were part of it if you were super heavily intense on gear on the last one and a lot less intense on actually shooting and the procedures were flipping it around this time uh we're going to talk about pre production and how important that is stuff that you know on paper boring but so critical to pretty much any shoot whether it's still shoot and interview uh a documentary or a major motion motion picture and we're going to introduce you to what we do you know on the high end and you're going to pick what applies to you and last but definitely not least we're doing work flow this has been the thing that nagged me you know, since the last one people saying I want mohr workflow we're giving it to you we're going to spend a huge chunk of the last part of today running through the entire work flow through a movie be an entire final cut pro sweet workflow from an extreme clip into final cut into compressor color basically in and out all the way through as well as premier c s five so if your pc user you're not in the dark anymore we're going to run for the entire work flow there how to go from premier into after effects if we have time we're going to show you the road o'toole which is pretty awesome and after effects and show you how those two things could be linked live and working in after effects compositing software as well as in premier without going back and forth just linked pretty awesome and lastly we're going to be talking a little about backup strategy on all that stuff so if you watch today's course the end of the day and you don't feel like you know enough about workflow um I kind of impossible we're going all the way into how to deal with time code how to use plural eyes for example to sync up uh you know, audio tracks video tracks because these cameras do not have time code we're talking also if you do have time coach slates, we're going to try and cover pretty much everything that you could possibly need and I'm really excited so uh so we were talking about they won were part of today, the idea is we're going to a foundation um and get you ready step by step over the three days so that tomorrow we're gonna do a documentary workshop. The idea behind doing a documentary workshop and then in day three a narrative workshop is that if he used the building blocks to do a documentary slash sit down interview along with a narrative workshop if you have those tools to do those two types of things, you can pretty much do anything in the world in my opinion, whether it's a music video uh whether it's anything because we're going to talk to you about the building blocks, we'll talk to you about simple stuff like the one eighty rule were to talk to you about shot selection talk to you about coverage transitions how to, you know, cut from one shot to the next screen direction um how to work with actors? How to get ready for a documentary the interview process the prep do a sit down interview with two cameras how did the old audio you get the idea like you're going to have a very solid foundation between these two steps, obviously, the ideas of documentaries slightly less complex then say a narrative short where you have to think about, you know, being a director and actually telling a story. So it's ah it's jam packed at the end of the documentary workshop day, we're actually shooting a live interview it's on artist and then we're shooting b roll of him working, but sliders, chibs cameras, handheld setups we're going to actually cut it together and put it all together and doing edit live in c s five uh, at the end of day three same thing we're going to the hole narrative and cut it into a short piece, so it's pretty much a pretty huge round trip and we got a lot to go through um instead of the issues lar world, um, I'm not gonna get it is too much because I would hope that by now everyone knows what in hds, lara's or h d slr basically it's a still camera that can shoot video obviously, that started a little over two years ago. Um, what I'd like to update you on is that if you want to see black smoke black swan recently, the dp matthew lee batik was using cannons for a lot of the subway shots and saw the rehearsal shots. So you're seeing that seeing them on a silver screen, matthew also used it on iron man to, um, the top documentary are the top film, um, in sundance was shot bought with the cannon. In fact, the majority of films are a big chunk of film shot at sundance were shot on hts. Lars so that's pretty impressive, not sundance. That's things have definitely changed it's becoming adopted it's being used in commercials and films all over the world and television. So the day has arrived first. Yes, lars, um, the new trends you're seeing new cameras coming out like the one hundred from panasonic, sony f three. These are kind of the hybrid hype it so they are a camcorder that now accepts pl mountain lenses and has kind of meant to bridge that gap. Sensors orbit smaller. They have different types of attributes. Uh, I'm going toe play with the eighth one hundred next week. Um um and I play with everything is the point people is that's what's what's the best camera there's no such thing uh there's a best camera for every single situation in fact, on one job you may using beam using multiple cameras uh the epic is is out which is pretty darn exciting it's the size of like a medium format still camera and that's pretty awesome and, you know, go ahead you mentioned sundance and h dslr being user do that do they transfer those to film? Don't you see that nose so they don't go straight digital? You know, most new theaters if not all are going straight to digital projectors is one of the biggest costs is shipping all those reels out nomination printing them off? Of course. And, uh, you know, most most babies you watch you at the end, walk real close to the credits and you'll see the jagged lines on the credits their their digital okay? Yeah, and, uh, it's it's happened. It's not happening. It's it's already happened. You know, that was always a big thing. Was that transfer to film from video? If you shot, you know, back in the day you mean right? Yeah, absolutely. Back in the day you were transferred a film that was one of the big reasons initially that you had to shoot twenty four p for example uh here lands a helicopter in the newsroom next door uh on cue way will be taking you all up on a helicopter ride all right um you'll be hanging from the helicopter auto rotating really bad cologne commercial exactly exactly there you go and uh oh already have another me just getting on dh we will you know, talk about all this this type of different stuff but I want to make you guys know that these cameras are being used in some very major motion pictures tv shows on a regular basis resource is quickly I wanted us to know what's available to you we've obviously did it we did of course almost a year ago um we're on creative life now uh don't forget that there is a ridiculous amount of information available on creative life whether you want learn c s five found a cut pro after effects how to cut just for hhs lars and final cut for example uh is a treasure trove of information available there? Um a lot of what we're not going to cover in this class was covered eleven months ago just about uh obviously for the people who watched that I don't want to repeat that a year later there is very little overlap from what we did last year to this year that's the good news for those of you who have watched for those of you that did that missed last year you will still be absolute able to follow this course it's built so that you don't you know don't have to have you know that pre existing curriculum it's still available in the creative life page check it out to find it all you have to do is go to the oops sorry how but I go back here it is and we're gonna jump into a quick little video recovered and you'll see that it was super gear focused and we're not going to get today were spent a very small part on gear uh this morning and now we've got a plane uh I'm waiting for the garbage truck will be number three perfect, right? Uh about fire trucks, fire trucks, cars like seven or eight in a row let's go and do you guys have any questions on these new cameras and where everything's going? Uh, you know, I feel like there's ah, potential kind of they've talked about, like with the read the scarlet, all that kind of stuff there's the scarlet I know it's kind of two k and then there's the cannon, which I know has some compression like ford to two compression so I'm just kind of curious if you kind of looked into that at all and kind of your thoughts there and I watched a chase jarvis interview and you're talking about reds are a little bit heavier you know each camera has its own use but I'm just curious what you're thinking about with that well, the red one is you know, is a lot of the right guy and the red epic is is kind of the size of a medium format camera, which is slightly larger than a cannon or an icon and it's also a bit more expensive uh it's a different it's a different strata of camera on raw video it shoots it's it's proprietary our three d all of format all the reds or proprietary rather the only one that I've actually touched is the epic and my understanding is that both the scarlet and their and the epic will also shoot my no epic does, but I'm sure the scarlet wells well, I haven't actually seen that one I have seen the epic and I don't read, so they actually should a raw flour as you would in a can and still images cr two equivalent file or in any f ifyou're nikon shooter um and of course has also cameras like the election that came out this year which is really on the high end but it's being called one of the single best digital film cameras with cinnamon cameras ever made and probably is um there's a lot of exciting stuff coming that coming out you know what when do you think you wouldn't use an h dslr? You know I mean like where do you find those limitations come out like the compression mainly or you know, I think the rolling shutters a big issue you know, I think there's a lot of big issues every single camera out there that aren't that big of an issue um some of them are disastrous so you know you got to be aware of those so yes there is rolling shutter on the five d mark to less so in the seventy and definitely less so on the one day mark for because the processor faster and the way ronald whirling shutters happens is it goes scans line the line from top to bottom so a straight line actually looks like an s curve and you shake left to right uh guess what the red has rolling shutter too at least the red one that I've used uh it's also seem all sensor um so it's kind of there in a lot of visual cameras right now. Um and if you're usually if you're shooting you know, a born movie um you know, the cannon might not be the single best camera to do that with for those sequences where you're running around like crazy that being said keep in mind people do all these tests where they do the ruling shutter left to right like this how often do you see it on film? How often is that really watchable? You know um so I when I get asked to do like sporting events or like action sequences, I warn the production that you know, the cannons will not do as well as, say, a red or a film camera or an alexa on and you make him aware of it but for the majority of people it's not that big of an issue compression on the cannon um I've we've projected this stuff on fifty and strains and have people walk up to it and not believe that it shot on issues are you know what the the reds and the wrong other role for mitt affords you mostly is the ability to push the video further in post that's the real advantage um so that when you go into grading, which is a fancy british word for color correction um you have a lot more to work with s o in effect when you're working on a on a issue six for file out of the cannon, for example, you're watching working off the quinn of ajay peg, whereas when you're working for raw file, you're working on a sequel see our two or any f whatever format there is make sense, do you think we're going to see raw on a dslr uh, I'm sure you will at some point um the question is do you you know you've got to realize we're all these cameras fit in the market and uh when you should read you go from hard drives you know, like they're out of style um and um you know, you're finding that a lot of these new cameras like the elects are actually also recording streamed to progress because people don't want to do conversions on set they want to see stuff right away but they you know, they like to be able to have the raw and the progress for example so that you can do a quick at it or color correction right there on set so maybe there will be wrong on initially salar but do we want that do we need it? I can tell you that uh given the amount of films that were being shot with the cannon without wrong uh and commercials um you gotta wonder how necessary it isthe for certain uses where you know you're going to really style eyes a film of course you want it, but if you're doing stuff that's just slightly stylized or even pretty stylized you can push that footage quite well if you know what you're doing when you record get a right on camera with these don't make mistakes all right let's jump in real quick to the video from last year I kind of got a quick recap of what we did together I want to talk a little bit about what photographers might be experiencing as they go into filmmaking it's about it's, the content and the story behind as a photographer but content in film is absolutely key it's very pivotal and key difference between the way you as a photographer trying to reach your audience with that one decisive moment versus creating a film. The definition of photography is the recording of like the definition of cinematography is the reporting of emotion she can't forget the fact that it's not just the fact that things are moving in in front of your camera it's also today how you move the camera itself. This is one of the most important the factors in film it's it's not only on the wall in the story, but also how you tell it don't forget that last part let's now jumped into talking about lens choice this lens was not invented shoot video these are cinema style lenses look at the degree of rotation that you have it's a three hundred degree rotation, right looking how much I'm using this camera now turns tables they know we're not going to pass the baton over to the eight students and sounds they're turning to turn it into something you balling character for environment and you're finding out more and more about the environment got remember this stuff didn't exist two years ago literally here's some footage for example, from the panasonic hdx you want this is that exact same scene shot with cannon five d mark here is what so it looks like on the red one and you can simply see that this is cutting down the amount of lights petryshyn let but it is more difficult other sliders to get a perfectly smooth slides I want sure, the micro dollies because it's a relatively easy way doing a dolly track, it was meant for our world innovation dslr learn all these rules and break everything one of them that's how you're going to great photographs. Ok, there you go. Um, as you can see, we covered a lot last year and we're not going to get again. So if you are a gear head that once learned mohr, you go back to that video and I really recommend it. We will be actually just using the gear this time we'll be running over how to use it quickly. Um, you know what? The students here, uh we're not going to give like, a one on one course on anymore because we want to get to some further processes and lessons. If you want to find that lesson, go to creative, live look, of course kind of law there is a direct link you can also go to my blawg um there's a lot of resource is there for you if you'd like to find more information all the gear we talk about so as you watch this uh broadcast today uh you don't need to furiously take notes on equipment because every single piece of equipment that we're going to show you everything will be software is on the block um there's a workshop learning page on the block right there you can see on the top right at all times that'll should shoot you right back to creative live that first lesson um there is also a section called mind here and this is a resource that we've put a ridiculous amount of time into on I do mean ridiculous we've spent probably three months of three months of work into getting stuff up there and the reason is everything is broken down on that gear section um by category so way have custom configurations up there so we're going to talk about that today. Um and we're also going to show you on that page. You know what every single piece that's included you know where you can find it on being a tch? Um so you have to kind of hunter around and figure out how we made our kids it's all up there recover every single camera um that's out there from the five d to the seventy six t d gopro cameras, you name it, everything you'll see here today. The key here, though, is there are lots of years sections on the web. I actually make a comment on every single piece of kit and say, this is when I use this camera verses that camera this is when I used this slider over that slider and also as often as I can, I put images to go with each lens. So, you know, we have monitors power accessories, lighting, audio, media and computing software, even matics in cases, basically, anything that uses up there. Um, when you click on the lens, you'll see up there v l I give you a description of why use that lens and you can see below are actual images from shoots. You get an idea of what that lens does. Um, and, um, here's some c p two is, for example, from his eyes, totally different thing. Here's a seventy, two hundred again with why use that lens it's in the eighty five millimeter range? Of course, right in seventeen, two hundred I explain to you want to use it. Let's zoom lands versus in eighty five one two from cannon. Or in eighty five c p two from zeiss there's reasons for all three. And you can click on the top left there you'll see a being aged link and a manufacturer sites you go straight to manufacturers site and have them give you their spiel and interesting information that they have to share with you because they almost all have additional content click on the bin h link on you'll find here there if I know how much it costs, I don't put costs on my page simply because it's constantly changing and that would just be a full time job, so go ahead and click on that and of course, if you purchase anything, it kind of supports uh with a very small affiliate link the whole process of adding to this continuously here's an example of like a port a jib you'll see there's a video underneath it. If you were to click on that video, you would actually see how we use that porter jib out in the field so that's that portage of being used that's the video and here we are using that you get an idea correlation between the moves you might be seeing on tv or in film and how they're actually being done with this porter chip literally a behind the scenes view, so as you can see it's a pretty extensive resource, the idea is to be quite frank the genesis of it was I couldn't answer all the e mails coming in you know, I get I get ten e mails a day. What len should I use? What picture style should I use? What software surely use what's your workflow? And I found the easiest way to kind of nip that in the bud was to put this up on the block and also to do these types of workshops. Um, also you got a video, which is one of the one of the groups that is giving away memberships toe over the next three days, then you dot com slash operate, and you'll find a bunch of those videos as well. The other stuff that I shot you want to find out more about me and the fast forward for that real quick? Uh, you can also follow me on twitter if you want to get in touch with me. Twitter is the best way email is the worst way I do not do facebook because I was tired of being people saying they didn't follow you didn't accept my friend request and I would say, well, I've got, you know, a few hundred friend requests to respond to and every time I click on one it's, just six more friends and after a while I just said, you know, twitter is really cool, I love it. So my main way of getting you know, stuff out there is for the blawg my mind mainly of teaching is through creative live and my main way of communicating communicating to people directly is via twitter um lastly as we get into this chase jarvis is also kind of a cool guy to follow he has put uh he's one of the people but he's definitely kind of the genesis of all this stuff that we're doing here today of creative live with several partners uh and he also is one of the people out in the twitter sphere and in the end the web in the world that shares a tremendous amount of information then um giveaways we're going to give a lot of stuff away you all you need to do at this point is follow you must follow these two we're gonna check that's kind like a prerequisite and follow the instructions that crowd gave you on that page earlier um I'm sure you can see it um you have too busy quote one of my one of my sayings whether there silly or accurate or not and we're going to pick you out of a hat basically over during each break uh we're giving away here's what we're giving away and it's going to be pretty much in this order and it's going to get more and more expensive as we go we're giving away I believe uh is it ten justin memberships for video in the a plus ten u s o ten the meal plus memberships at six hundred dollars worth of memberships great way to get your video out there and be part of a fantastic community we're giving away cable's eighty nine cables from p n y as well as a c uh sd card we're giving away some bags from think tank but you're also been using those for years from my days as a photo journalist to this day um that variety bags and they keep coming uh we're giving a name on a pot for man photo we're giving away three gopro cameras we're giving away a fifty one for zeiss zealand's not too shabby we're giving away an entire set of nd filters from schneider optics uh that's pretty essential kit for anyone that does anything serious indigenous women that's a thousand bucks right there uh we're giving away a five inch marshall electronics monitor which is pretty essential we're giving away adobes cs five production premium suite which is very sweet that's something I think a lot of you probably like to have on your computer's whether you're a pc or a mac user uh we're giving away a really high end set of sticks with a great fluid head from man a photo we're giving a cancer clinic kessler crane uh which is a tool that will be using quite a lot here which is awesome. We'll also be giving away from synovate a two things both a slider that goes in the vertical mode and horizontal mode very versatile as well as one of their handheld riggs and then from red rock micro we're giving away three thousand three percent dollars three hundred three thousand three hundred seven dollars worth of kind of a credit which is also pretty outstanding so why don't we jump into the workshop now that we've got all of that stuff out of the way I'm going to do a very quick mean green with everybody because you know, people some people have met you here before um well we were early um prior to getting started um but just tell me your name where you're from and you're number one goal from this workshop and you're number one fear go ahead well uh my name's will godfrey I'm from atlanta georgia um and hoping to learn a lot more about hd dslr cinema I've been shooting a lot of music video type stuff for the last six months and I dove into it headfirst didn't have a clue what I was doing and looking back at that footage now it just makes me cringe every time I see it compared to what I shot you know a month ago um and my biggest fear is you know going back and not being able to afford any of this stuff I need to make stuff look basically okay I'm john estes from seattle some nearby here um and you know really my my main goal is to understands more than narrative side of things um and really that short film set up in direction that was one of the things that I really feel like I falter in that territory of the direction I've got a sense of some of the things that I really need that extra toe to see somebody at work that knows what they're doing so um and then my number one fear is just uh what you talked about I think your previous stuff that that's still to video that challenge producing something and getting all the people together on a low budget and just waste to handle that because it call it's calling in favors a lot but I want to move beyond that and that's where I struggled before you go daniel budgets uh one of the biggest things that I kept saying during last year's workshop it wass what will make a good film whether it's a narrative film, a music video or documentary um is the heart and soul of it the story period if you shoot that with a bull x camera you know with you know, expired film it will still sing uh the biggest mindset you need change yourself from if you're still photographer going into, um film or video most just say motion live action uh, is that still photographers want to buy all of their gear, and while you may want to buy some gear to have with you with issues are kits uh, the entire film industry rents everything for a reason. It's very expensive so renting should be something or borrowing that you always consider and here will not make your film or music video. It may help you, you know, get certain things to look better. Of course it will increase the production value, but the biggest mistake you can make is the mistake that I made during my first year, which just obsess yourself with you. I know how it works now what it does play with it but realize that it is probably number three or four five on the list of what makes a good product okay, and calling in favors is it's like every single filmmaker, no matter if they are john q public or ridley scott calls in favors from time to time or regularly you don't you want us, you want kind of save those silver bullets, you know? And you want to make sure that when you call in those favors you're ready and that all the people who are donating their time, energy and resource is to you get something good out of it and that's what the preproduction talk about pre production today, daniel uh my name is daniel hoping I live in bowling green kentucky and I guess I'm just most excited about come from far journalism background and just, you know, learning the narrative side that's also kind of my fears that I come from you know, these are our ethics and photojournalism and this is what you can and can't do and I sometimes find myself realizing like oh you you know, if we're talking about you know, a different medium and things translate but just learning that is primary biggest challenge cool and my wife went to western kentucky yeah cool fantastic photo journalism school in school in general and uh hey told the u k you people out there and um yeah I mean also one of the biggest challenges that you and any photographer has is you know you've mastered the art of this still image, you know, telling the story in one single image where us obviously what we do with live action is on any any motion peace is to string a syriza even just together uh into a cohesive whole it's about how everything works together is the sequence on each clip relates the one prior to it and after and that's kind of the art form that we'll be talking about as we go through into this weekend giving that that solid foundation uh my name's mackenzie deeply I'm from chicago, illinois and from this workshop I really want to focus on capturing good clean audio I think that's something that she dslr shooters kind overlook and my biggest fear I think is just follows new gear and like adaptive getting too caught up in the gear and actually was inside of the narrative the actual story behind it that's a very that's a that's a fantastic fear to have it's probably the single most valuable fear any artist should have no matter what they enter into is you know if you're a ballerina or let's say an ice skater like what type of skates am I going to get you know our baseball player what's the best glove you know um yeah you want to have here that's not too terrible we've all known people we start off with the worst gear and our absolute you know geniuses um and it's it's not about the gear it's about what's in here and in here and you know I'm not going down that too much um in this workshop will definitely talk about it regularly but I kind of like I think you know we beat that to death in the first workshop like that's just kept pounding that concept of it's about the story you know the gear will not make the story the gear will stand in the way of your story ninety percent of the time if you don't you know I don't know how to use it and I prepared and as you said sound sound is fifty percent of anything that you watch it's critical means jeff givens from just outside of vancouver in canada, and I'm a full time composer and sound designer, so I go, but and then then music and sound for several movies and for animations and things like that. Um, but really looking forward, teo teo learning about shots in transitioning from shots and setting up shots, really thinking about that as opposed to just set up the camera and on going for it? And um so so that the work flow of shooting, of mapping out to sing and I also love dr documentaries, I'm really excited about learning about documentaries, and I guess the thing I'm most concerned about is just leaving here and not getting saying what I want to say with film for the rest of my life kind of thing, you know, I want to make sure that that film and and making video productions is a part of my life and that the things that I want to say and get out there when you agree with them made the statement that what differentiates an indie film for a hollywood blockbuster film, the number one thing is the audio definitely yeah, yeah definitely way will definitely be, you know, recording sound here and talking about it, we will not be going too much in depth and two audio or lighting because we've got a kind of pick what we're gonna focus on going we can't teach you know years worth of or a lifetime's worth of stuff in three days but we're definitely gonna you know, hit on it and and also work on in a software as well I'm travis tyndall I am from oklahoma city, oklahoma and I'm a videographer editor at a large agency and I guess what I won't take away has learned some technical nuances and, uh kind of exploring narrative a little more and my real fear is heights well, you're safe on that in these three days we're not going to do anything although you just gave me a mission we're gonna have an overhead shot or so but uh we can show you that what beautiful part about filmmaking business if you want to go and get a shot from overhead, you can use a jib stay on the ground right? It's no longer crawling up to a roof with you're still camera there are other toys out there uh both expensive and very inexpensive to get some cool overhead shots. Um so that's the meeting greet uh that's who we're going to work with with next three days uh I'm excited work with you I'm excited to see you screw up I'm excited to hear your questions I'm excited to hear your ideas and same thing goes for people online you know, you are part of this too. If you have suggestions or questions, I will take them not all the times we never get anywhere but just, uh at periodic times to kind of make you feel that you are definitely involved in this. Um we're going to end up jumping in the custom configurations now in terms of gear would like to know is where we are in terms of schedule. Um, certainly had a clock. Um, you take a look at my watch, it's been an hour, um and where you're gonna have to kind of do a little bit of a reset to do that, um and should we take a break right now? I think what I'd like to do initially while we get ready to take that break is take some questions from the web get everyone to get ready for that break and, uh, take the break and move on kind of the next segment. We're starting to work a little with the gear ready for some good at susan right on the questions. Okay? Question from jon snow in the chat room is auto focus during video getting any better these days? It is getting better on I've seen it work really well on the one hundred thousand dollars cannon tv lenses they use for sports I've seen it start to get better on the substance some lower and cameras that are pretty impressive. Um it's it's it's getting better? Yes. Um can autofocus ever be the solution? Uh, it's tough to say for film you know, auto focus is tough enough for still photography you remember when you're doing motion, the subject and the camera moving continuously and it takes a pretty intelligent device to know what to focus on at all times you know how there are high end motion picture basically kind of sonar radar systems that will basically work like us on our radar and for you uh but in terms of our world some lower and cameras like even pointed shoes, they're starting to do it so you know it be silly to say it's not going to come out at some point uh, is it ever gonna be intelligent enough to do what you want to do? Uh, sure, I know it'll do well, if you like, you have to put a camera there have to be like a stand up interview with that feeling where you are moving forward or backward. But if you're shooting a music video with guys jumping up down and girls on the drums and everything and for shooting a narrative film, you know where you choose to focus it's like one of your biggest tools and as we covered last year and we'll go through this year as well uh the way we tend to do it you know uh for most for the most part is either right doing it live so you can see as the operator are having a first a cia first assistant camera uh person with you whose job it is to keep you sharp thank you question from jin kyu and building on that is have they improved the image tomb of stabilization and lenses that are similar to the one hundred a macro that you used last year? Not yet to my knowledge the only lens the one hundred million year macro version two well, that is still the only lens that has a technology uh I have been giving another commitment giving cannon feedback I'm sure other manufacturers that you know when you were used a camcorder what differentiates a camcorder for macy slr or the majority of cinema cameras is that they have, uh, image stabilization build into the lens uh not only physically but also additionally. So when you walk around the camp order issued, you know, images of your family, your videos like rock solid that tripod and you're like I'm a rock star aaliyah tripod and do the same thing with a bear five d and you're like this is unusable, you know, without some sort of support system which we're going to get into next so that has to improve over time and it will definitely technologies cannot be stopped question from aaron mcguire how much paperwork is involved in the industry insane amounts like you've never seen before the first shoe that I did uh had a binder the thick binder that you get for a two day shoot this thick and saying and that was just paperwork for you know crew call sheets and taxes and you know, contracts there's even more beyond that a lot of paperwork it's it's the kind of unpleasant part I think people who find that pleasant of the lawyers and you have to the mps had to be multi talented then what's up you have to be multi talented not just get it well if you deal with me deal with less paperwork if you're a big production, you have people whose lives it is to do that you know, if you you know if you're working out small production you're gonna take care of that yourself you know, work with a small crew hopefully but if you get to work with a large crew on you're doing ten, ninety nines onset um you're not gonna be very effective as as pretty much any role you know onset little on director question from chateau q is chateau q how do you find people to help you crew a no budget narrative film uh it's actually easier today than it's ever been uh that uh if you're on video for example you khun start falling in those work that you like and you'll find dps you'll find um camera operators gaffers directors producers you name it you can also go on a number of other sites that's where I tend to you know, work with people and find people you will also find that your friends especially to go to school are you know some have similar interests um and then there's twitter um there's local gatherings on what you know one of the reasons saying it's easier than ever is that it's easier and then ever to connect with people today and put stuff out there and find people who didn't even know had an interest or knowledge um and it's pretty exciting and you'll find that no matter how successful people are uh they will always want to work with fellow talented people especially on a exciting groundbreaking or just cool intelligent uh script or project um you know it's very hard to find a lot of volunteer for you when the script is terrible unless they just really need experience and that's fine too you know but if you've got a good good story to tell people going to come out of what work whether it's editors to help you edit it down people and after effects colorists you know, audio engineers, composers, actors obviously um so yeah and all of the place and where do I find it? You know it's different you know as you as you work to bigger and bigger productions it's a whole system you know, I worked with line producers executive producers that no production houses around the world that know casting directors that no actors that no dps and agents et cetera, et cetera, et cetera it's all system you know, it's an every filmmaker big and small travels across the world and needs to find local crew it's almost impossible no matter how big the production to four traveling every single person on the crew with you no matter how small the crew is because of course the smaller your budgets monarch who is going to be and no matter what sometimes troubling yourself is a burden alone traveling water to other people and the internet has opened that up for us in a fantastic way to find a fantastic audio engineer that you can work with if you're the sole director producer, camera person and you're going out there but you need someone help you with audio, you can find someone in sweden or in antarctica or, you know, obviously here. Yeah question for the in the chat room um why did you make the transition from a photo journalist to a filmmaker back to basics? I went from poor girls into commercial photography um because I wanted to have more control over what I did going back to the rules that daniel but up a za photojournalist or journalist you abide by very strict ethical rules for a good reason you can't tell people do something again orgasm they wouldn't normally do um and because you're documenting the truth um and that's fantastic because when you capture that real moment the serendipitous moment there's kind of no nothing in life like that you know, it's just all comes together ah, but after fifteen years I kind of wanted to have a little more control and say, you know, I want a light over there and I want uh, he's this you know actor to be you know, a burnett that's this height with his clothes and kind of, you know, create a world you know as opposed to documenting the existing world uh so you know, at first it was commercial photography and then it went into filmmaking and at the five d mark two had pretty big deal pretty pretty big role in that transition uh that it catapulted me into filmmaking uh at a very quick pace ah evangelina an and some other folks in the chat room have asked where would you recommend renting equipment are their websites that you can go to or do you just have to find source locally? Um I know that be in a trance stuff uh I know that borrow lenses rent stuff I know that almost every major city uh has rental houses uh especially for film when you're a smaller market it's definitely more difficult uh but you know, films and tv productions are happening around you almost everywhere. Um and um you know, on my type of productions that I will do on a commercial uh my production company we'll hire a production company that's in another state or another coast that has all those contacts or another country so we don't have to try and search for you know, a light panel in argentina on the internet and now someone local knows who to go to that's reliable and you know, has a good price and all that fun stuff. How much longer do you want to go before the break? Okay, just okay let's do two minutes so ten on the dot and then we'll break cool even the questions will never stop so that you know you need to you know, let it smell um raph woody asked have you ever tried a anamorphic lens on hd dslr and why, uh you can I have personally not tried it because, um I like ten eighty is a minimum resolution. Of course the anamorphic image is going to make a smaller mitchell accessory you have to stretch it um I also have not converted one of my body's to appeal mountain uh yet so most anamorphic lenses out there a pl there are some that will screw in um and um I have had a need to yet um if I were to do something anamorphic I'd probably use a different camera right now there are definitely people out there who have done it I've seen results they look great um but I haven't had the need yet you know you can't be done uh person just haven't had any hi josh had asked earlier do you think cameras will get better with rolling shutter? Sure, of course they have to focus. This might be a longer answer than two minutes but focused had asked how do you storyboard we'll go over that okay. Yes, we will get to that soon. This c martin martinez studios has asked how did you go about learning the legal stuff in the industry? I spoke with a lawyer. I like the short and the producers you know because it's it's do not read your own one advice piece of us I have no matter who you are actor director producer do not read your your contracts you are not a lawyer have a lawyer or someone help you that knows what that contract means yeah, all right, you want to keep going uh we got ten seconds, ten seconds, ok? Last question um bmc photography we would like to know if you could explain the issues around panning with a dslr they've heard that there's a problem with it and they just kind of want to know what you have to think what you think about it um I have seen some weird stuff happened once in a while were kind of skips frames you have seen that, uh and that one I can't explain not very common once in a while there's kind of that issue that pops up on uncertain cameras is the thing I worry about in any production never know that you should know that their actual tables out there uh, that have been done by some photographers that tell you based on the size of the screen and the lens or using the maximum speed should be panning at any one time to keep the image visible. So there's a science to it. So no matter what camera you use if you're planning to fast for that wrote that lands relative to the projection, people just can't see it it's visually startling and un pleasing. So you know, a very simple rule of thumb is as you're watching the monitor if you can't see the image well you're panning too fast sometimes you will pan quickly lisa whip pan for dramatic effect but most of time, make sure that you're panning and tilting at not too fast, the speed that you, you know, it's. Unless you're trying to get a jarring visual effect, make sure you don't go too fast so that people can't see what's going on because of the entire pan. You'll see. The image is blurred the entire time, and the I can't track anything failed pants that's on any camera in the world. Is it correct if you follow someone also, that it will reduce that well, as long as you like? Yeah, of course, if you're following a subject perfectly, that subject will be well moving, you know, not moving relative to the camera. Everything else is blurry in a relative to them, your eye hasn't. A glock on great problem occurs when there's nothing for your idol lock onto.