I think before we get going we're going to try and do a very quick like uh you know speed dating uh thirty three second answer to a bunch of questions from people online green so let's go and do that so this is ken and I have some questions from the chat room and this one is from ma gia do you think that sometimes movies with no actual words spoken is a great way to learn how to shoot a movie just for the learning process which respective rights one my favorite sayings is learnt all the rules well and then learn how to break them that's when you start doing really interesting stuff so there's no wrong answer is no right or wrong way to do films you know uh sound came uh a bit late to film everything was a silent film before it was you know, a film with sound so yeah I mean anything can work just don't expect that uh you're going to chase is in the house and the lights of dimmed and come back on and uh you can learn to do anything any way you want just don't expect that your mass audien...
ce is gonna want to appreciate a um a silent film right another question that I have from the chat room is from nathaniel you talked about movement and light for use in suspense and mystery how would you use movement and light to create a positive emotion um that's a good one and it's a bit of a complex answer but obviously if you're going to use light that more film noir which is awaiting scribe film with uh spots of light and lots of dark section's it's going to be much moody or much darker whereas a bright sunny day with full frontal light that soft is going to be much more positive nice sunset warm lightning's gonna make people feel comfortable lot of this stuff when you think about is really instinctual and obvious and unfortunately lighting is one of the parts we'll just discuss the least in this workshop because we could only do so much but lighting as audio and almost any one of these things and it is an art form kate a couple questions here how much did the helicopter cost helicopter costs about nineteen hundred dollars for one hour the most expensive thing from every always the second most expensive thing uh the editor on the models we're one thousand dollars each that's where the five thousand dollars came from and keep in mind that's for something I'm doing on personal work that's not what I do when I work for clients you know, people on the crew working for free that is what it cost me to do a cell for emotional thing with everyone including the gear being free so just keeping that that in mine it's important to say yes yes, ma gia in the chat room wanted to know she was having fear he was having difficulty with bad art effecting in low light with the five de mok to did you have any you didn't seem to have that trouble with valerie's was the first time the camera never been shot effectively so we were inventing it as we went ahead and yes, if you look carefully at the opening shot in the sky you'll see some noise and banding some helicopter shots you'll see some noise and banding and we'll get to that a little bit and talk about where that starts to happen depending what camera you used probably blast question perhaps is on and this is probably you know why we're all here but what the rise and digital media do you think that the demand for videographers will increase to provide more visual stimulation than print media? Yeah, I think the more websites the more belongs the more ipad app so you have more you're going to have a demand for video I think one of the key points to understand is that it's not a question of whether this still photograph is more valued or less than video ah lot of it is going to be driven by advertising I see advertisers moving towards moving ads you know the whole pop up uh you know add is not really working driving so well and as magazines become perhaps less relevant versus their online editions, perhaps on the ipad, I think appetizers are going to gravitate towards moving advertising that's definitely where you know I and spending a lot of my time now a za photographer and film makers doing moving advertising and still shoot plus video and it's going to be driven by the ipad and the iphone and internet websites. Great. Thank you. Ok, alright, let's, go move along. Um all right, so we're gonna go through the most basic question, which is why are we all here today? You know, um, don't forget that two photographers video is new and it's a new way for us to expand our business and try something different and offer mortar our clients. But guess what? Film has been around pretty much, almost as long as still photography has has video. So while this is new to us, there's, an entire industry called the film and video industry that has been doing this about as long as he had, and you can't forget that fact. Um, one of the points I'd like to make really quickly is that as you if you're a photographer going into film, don't forget that the asset that you bring with you is your eye and your vision and your appreciation for light in composition. The irony and we'll do this is a class together is I'm gonna remind you of that when you guys start shoot and I guarantee you right now live in front everybody that you will forget that as you guys make your first short together and you're second I will ask you at the end of that do you like what you shot and you will say no I don't I had too many other things to focus on and the biggest perilous to go into video or film and forget what your strengths are and to get too involved in the gizmos and uh and of course the important story but don't lose sight of what you bring to the table because people in video and film that I've been doing it for as long as you've been doing your still photography know a heck of a lot more about how to move the camera how to edit it than you do so don't lose your your initial strengths um so we're here with these candidate five g's and uh you know we're gonna talk a little bit about why this thing here has a few thousand people watching us on the internet er and er you ate here today and everyone else why are we talking about this little camera because after all this thing has been around for ages and different form factors so why hasn't this been such a revolution in the past two years you know, I've kind of learned to hate the word game changer, especially these days because everything is a game changer every other month um the truth is the technology is changing a lot of things and just kind of flipping things upside down the beauty of this camera obviously I think number one and this is the seventy, so perhaps the five demark too is the best example of this right here is the size of the sensor is really, I think one of the main factors as to why people are gravitating to these cameras. We'll talk about the cons next, but the pro is this physical size, the sensor is quite important, and I would tend to fly over this too fast gloss over we've got to kind of talk about that, um for still photographers, you'll know that the larger the film used less that the field you have say, refusing a thirty five millimeter camera versus an eight by ten field camera you're gonna be a lot less depth of field on an eight by ten get a much more beautiful background, much more compression and artistically looks that looks beautiful it's why a lot of commercial photographer shoot medium format for large ferments that's changed in the past five years with, you know the cannons like the one d s mark three the full size sensor cameras but in film that sensor in there I believe is twelve times smaller is that about correct? Marcus the sensor of the two thirds chip is twelve times physically smaller than a thirty five minutes sure someone will call me out if I am wrong but it's significantly smaller in size which means everything is in focus on the typical camcorder and what we'll talk about that in the second. But the reason you saw that opening sean reverie where the backgrounds completely out of focus you saw the wonderful boca it has everything to do with the excuse me I thought you get on the right on the right slide there has everything to do with the size of censor. The next thing is these cameras perform unbelievably well in low light relative to almost any camera out there in the world. What does that mean? That means you can walk into a dark uh, allie or indoors and shoot a documentary or a film with available light. The whole idea of dragging all these lights we have in here with you changes the face of your production and the way this camera's I mentioned reverie would pick up lighting on the brooklyn bridge that other dps thought was lit by artificial lights that you added she really, really changes things the size it's a small camera, the weight it's light you know shane hurlbut stood this piece where he froze the camera up in the air and catches it to pretend that this is the actor's son or daughter being thrown up into the air. You can't do that with a nari camera you can't throw that camera up and even if you did when it would land would crush the person beneath it you know it's fifty seventy and more pounds you know you cannot hand hold on imax camera thes things air gargantuan beasts uh of metal um so guess what? You can carry this in your backpack you can go to the great wall and shoot this camera on. People are going to pay that much attention to you for now um and then lens choice uh one of the biggest parts one of biggest races that reverie did well, I believe uh was besides the size of sensor and besides a little light performance I had all of my still lenses so I had a fifteen millimeter fisheye I had a sixteen thirty five I had twenty four seventy I had a fifty one to eighty five one two uh in a four hundred to eight and two hundred too. So I had all these lenses you don't have all those lenses on your camcorder uh I went ahead and I bought uh not this camcorder but another camcorder about five or six years ago was one of the first twenty four frames a second camcorders they had and actually, I think, it's the only thing I've ever returned um, and I return it after two weeks because, uh, this was kind of fun, but as a photographer just didn't enjoy the way you look and, uh if after all is said and done for what we're going to talk about these three days, you're going to find us a lot of negatives. These cameras down here gets lars, they make production very difficult on certain levels. Um, these cameras are so much easier, they're professional video cameras, they have lots of bells and whistles and tools built into them to make your life easier. But ultimately, the reason people keep coming back to these cameras, despite all their faults besides, despite all their warts, is that they produce an incredible looking image that this cannot and that's why I returned the camera, the lenses was not long enough or white enough for me, and everything was in focus. I didn't enjoy this I returned this camera not this very one but another one and that's a key point let's talk, however, about the ergonomics economics is a fancy way to talk about form factor. So does the average videographer shoot a film like this? No, this is not, you know, the ergonomics, this is a still camera through and through it's meant to be held up to your eye with one hand on the lens to use a zoom or the focus and your trigger finger. Um, this is not your not your center of gravity here by any means it's a very awkward way to hold the camera for extended period time, not to mention you're not staring for the viewfinders during at the lcd. So without even shooting like this, you're shooting like that, so you're even mohr off balance you can't move smoothly uh, the ergonomics of this camera are completely off for shooting video. Ah, the way you shoot video is like this with an lcd screen that you can rotate, so if you want to shoot a low angle shot, you flip the screen up that you can see what you're shooting from any angle you want a photograph yourself flip they also get screen look at yourself you want to put it above same thing you can shoot this from any angle remember cameras, you know in video it's about moving the camera it is not easy to move the five d mark two or the seventy like this you can do it it's, you know, not bad it's not great, it is a heck of a lot easier to move the camera with the handle it's built on top or to hold it for a long period of time off to the side with your elbow against your stomach this is more of a center of gravity thing. All right? This camera ergonomically is built to shoot video, so um also this is a bit of a heavier camera than the five d mark two and here's one of the big ironies you'll find a lot of conflicting things with these cameras, the lightweight nature of this camera is what makes it great you can use a suction cup like this. Um this is an avenger suction cup that we use for reverie, and once you take this blue part off, you can go ahead and mount this on a piece of glass and basically a suction cup it to any flat surface by pumping it up and you can mount a camera or video camera anything onto a car's hood onto a motorcycle has a big enough flat surface uh pretty much anything don't mount this on a plane or helicopter it's illegal and extremely dangerous in general, these things are quite dangerous if you don't know what you're doing because when you think about it you're hanging your a thousand or two thousand dollar camera off something and it can rip off s o in reverie we use three of these s o that you had redundancy one failed you had to others to keep it on and we had safety wires never ever let your camera uh mounted on anything any light without a safety cable so if this word lose it suction or break it doesn't kill someone I mean you're talking about really potentially hurting people so great little tool this is a man photo suction cup again I won't have a slide for this bits the two for one f b like frank bravo um and it's a simple suction cup that I don't travel without but the point is again wait is your friend but it's also your enemy in that when you've a very lightweight camera it moves far too easily it vibrates far too used wait is your friend in video so for all those of you who spent some fantastic amount of money on lightweight carbon fibre tripods it's nice to travel with that but for video you actually want a heavy tripod that stabilises the camera every time you bump the camera it doesn't shake it just kind of like a tank um so all this thing about minimizing wait is an advantage when you want to mount the camera under something it's not your friend when you want to move the camera you want that weight to kind of give it a certain inertia and fight your national movement of your body that's why when you have a very heavy panavision camera on you it's a significantly smoother than a bear uh, hand held their body from can and we're going to talk about different cameras supports uh tomorrow the handheld rigs uh that's coming tomorrow uh a lot to talk about all right? Uh, stabilization is a very big key that I think is one of the most overlooked things with these cameras right here on if you can see it it says optical image stabilizer in other words, there is a stabilized a stabilization system built into this lens that allows me to hand hold this camera at let's say one hundred fifty millimeters on this gentleman's face and even though I'm breathing up and down and moving a little bit, the video states almost dead still because there's not on ly optical optical stabilization built in there's also are trying stabilization so it's actually helping to stabilize the camera. All right, you take this for granted it's always there in almost any camcorder out there. This makes shooting documentaries possible as you're running around because your image is having a tremendous amount of work done to it to keep it stable. There's zero of that happening on any of the cannon bodies. There are new lenses coming out like the hundred macro, which do an incredible job of stabilising the image and we'll get to that from the workshop but the reason we need all this is because we don't have that stabilization built in you don't see small documentary crews walking around with dollies and gyms and sliders to you no, they use a handheld camp order that has stabilization built in and as that technology comes out, this stuff will become less relevant. But for now when you buy, you know, a standard cannon or zeiss piece of glass there's absolutely no stabilization and that's why you'll become very heavily reliance on this other year and then something it's very obvious it's more professional is, uh, looking this cannon body it has basically for video, a shutter speed aperture and s o and you can pick a resolution in the frames per second that's all you can set on video and color balance that's, not many of professional features is it it's kind of like they decided to say one day we've got these little digital can elves that shoot video? Why can't the five day shoot video to be kind of fun? And they decide to kind of throw it in a haphazard leads the five d that's effectively? What happened when can made the candid five d mark too? They weren't looking to create a professional video camera that we would be using on movies and documentaries it was an absolute afterthought, and when you look at this video camera, do you see the plethora of buttons and functions available on this camera one camera b but you've got all these different tools on here that you know display peking magnify uh gain auto white balance exposure lock out put white balance custom white bounce custom key one custom key too audio levels mic levels nd filters zoom uh you get the fact that this has a lot of things built in that allow you to work in a professional environment uh that the cannon does not one of the most basic things they're going to run into is time code and what time code is is basically internal clock on these cameras that keeps running it has written to the video track allows you to say that at one hour two minutes and three frames I had this fantastic dick shot and you can write that down give it to any editor in the world and they can fast forward to that point and that note that you made and make sure they don't miss that when you hand a video file over an editor there's zero frame of reference built in on it whatsoever okay uh and that's a very big deal in a production when you try to use multiple cameras together, you don't have time code you don't know howto you know, sink them together also on the cannons uh there's no way to control audio remember we said fifty percent of filmmaking was audio uh, you'll see most documentary filmmakers have headphones on uh as they're shooting their film solo or even with an audio technician because they know that no matter how good the video is if there's an incredible amount of interference on audio going on at the same time it's unusable you guys saw the checklist going on before we started recording this goes on for five minutes do you do that as a still photographer no way you just turn the camera on and fire and if you're lucky you have to remember to put your aperture and your shutter speed to get correct expos you're ahead of the curve right red's video is like you know it doesn't matter how good this workshop is or not if audio's not recording it's absolutely useless okay so on the cannons there's no way to monitor your audio there's no headphone port I mean how can you have that oversight it's maddening but it wasn't made to be a professional video camera there's no way to control the level of audio coming in so if you're very quiet environment you want to really listen up with the microphone if you're in a very loud environment you want to kind of damp in that down a little bit uh so you know there's all these things to consider and ultimately when it's all said and done the look of these cameras is so unique and the form factor how small they are in the way they perform in low light really has them standing way above the curve for any every average camera and if anything, I think these are the single best tools told out everybody. John q public to create their first film to create their reverie or whatever it is they want to photograph or film and take a shot at being a filmmaker and be judged on your ideas on the story on the intellectual, um, content of it, because your video doesn't look so crappy that no one takes it seriously. When you shoot with camcorder, it looks like cam quarter, and it just doesn't look like hollywood, whereas when you shoot with these cameras, you can get away with so much more people aren't as obsessed with how it looks amateurs, you know, they buy into it from those part and are actually focusing on what's important, you know, are there any quick questions related to why we're even here today and talking about h de solares? How many lenses do you typically find yourself using for a particular production like, for example, for reverie, reverie was exceptional by, say, about six or seven lenses, and then you're going to make a different choice is, well, whether you want to use a zoom lens or fixed or prime lands one it doesn't zoom it's, thirty five, is just thirty five. So with a zoom you get a lot more um uh liberty to not have changed lenses were the prime you gently get better quality better look and wider aperture there's no set answer I mean, you can shoot your film with one lens same way you can go out and you still let me just the entire day with one fixed let's thirty five millimeter for example no brakes on shot nothing for the thirty five and then later on you start shooting fifty uh and then the ninety but for the most part almost all those shots are there thirty five millimeter fixed lens or fifty his whole career was to lenders uh think about that. Um do you have any insight as to what the next generation of dslr cz seventy muck to might bring if I told you I'd have to kill you and then kill me um I don't have anything that I can share right now I think canada is still thinking about it and uh we will see and uh it's you know whether kannan does it or nikon or uh panasonic sony read uh, ari it's gonna happen no matter what and what I think you're gonna find is, uh camera that has these large sensors that performs really well in low light and has the bells and whistles but you need um, magic lantern you talked about that um, we could talk quickly about magic lantern magic lantern is firm where that you khun basically it's a different, like running a different os on the machine and offer several bells and whistles to it. You know, you re contract your gain as a bunch of features at all time uh, magic lantern works well, for a lot of people, um, I have always been nervous about it, uh because you have to load the software, and every time you turn your camera on it's like one more step it's made by a different manufacturer that's, not the original um, that being said, you know, I think that has to do with the same level of comfort you have, like, jail breaking your iphone worse is using the standard one and whatever you're comfortable with, but obviously, you know, red is a good example that's a high end film camera uh, routinely changes their firm, where all the time and when you're on a big production on on any production it's for you big, which could be a three hundred dollar production that you've been waiting for six months with twenty friends or five friends too you don't really want to insert, you know, another point of failure you don't want to load a firm where the night before that makes your entire video footage go and not work I think my question is more that the er tweak your audio and other settings in magic lantern is that change what you can do with this, like, why hasn't cannon aimed the letter that we obviously don't want to go there but does that firm where give this a lot more capability to be actually being used? Well, getting usable audio, etcetera? I will get the audio a little bit. I recommend a dual system which means recording audio different device because the quality of the audio on these cameras in the same mike gets compressed, so you're gonna get much better audio by recording it to another device like a zoom uh or some other device issues. Okay, do you think that mohr and even perhaps all of the camcorders in the future will have hd sensors in them? Well, they already have aged each the size of the sensor. Um, maybe probably not initially, these sensors cost a lot of money to make the most expensive part of that camera. Um, versus a two thirds sized chip is a lot easier to make it a lot cheaper and they can pump them out by the thousands. Uh, I don't know, you know, I don't know, uh, if twitter will be around in five years or if the ipad will be a hit or not uh, it's a fascinating time I think what you need to concentrate on is what tools are out that are out today can do and how you can best use them now, uh, the idea of constantly waiting for the next piece of software or hardware to come out before you buy it I mean, economically it's a good thing to do but you're sitting on the sidelines waiting while other people are actually learning to use them and master them. So yeah, one person wants to know what your thoughts are about sx one another camera models that are not dslr uh, I have no idea when max sex one is, um and the point is this is what I do. I focus my energy on these cameras and up uh I don't I hate camp quarters. Um never liked them and I'm kind of a dress that a little bit before that being said that s h a won the canada is a much better tools to shoot documentaries with because it has a time code on a lot of bells and whistles you're gonna need to do that, uh, that's not my area of expertise is you go into video like photography or realized there's a very clear tools for different parts of the job and, um, you know, I have no idea when I sex oneness and I doesn't bother me at all because I know what these are right here and give any thoughts on the panasonic g h one it's a cool camera uh that I like that itself is also missing a lot of bells and whistles but the image is coming out of there pretty cool and if I believe it's the right model I think you could mount pln's us to that there's no mirror correct I haven't you know this this uh either acronyms or model numbers know where these guys find you know that seventy the five the mark to the one d mark for the seventy d the fifty d and then all cannons or five dean all night cons or d three I mean, I don't know what these marketing people are thinking about, but this amount of useless information we have in our brains about camera models has got to stop. So yeah, that was ranting there for a second I have a question from chat focus is while moving is another challenge which with the hd dslr is how do you suggest addressing that we're going to a whole section on focus is well, there you go most difficult part about using these cameras the beautiful part of these cameras that can shoot with relatively shall that field the hard part is you have relatively sheldon the field, which means you have to focus critically and we'll talk about how on your crew there's one person whose entire job is to focus there called the first day c or focus puller alright let's kind of move on really quickly uh this next section I think is going to be hard uh for perhaps the audience member to go through because it's hard to judge video quality on streaming web so um bear with us and maybe listen to what I'm saying somebody may see this better not same thing with the audience member when you see a video image projected on a big screen you can see it immediately but when it's compressing the small screens and screamed over the web and I'd be a little more difficult to appreciate but here's some footage for example from the panasonic hdx two hundred is a very popular video camera and you'll notice that uh the foliage in the foreground and the background is all completely in focus uh you notice how it just kind of looks like video all right this is shooting twenty four frames a second so it's not a frame rate issue it's just the fact that sensor that two thirds size sensor is so small but as I said the smaller sensor you have the more depth of field you're gonna have a large the censor the lest of the field that looks like video it's an excellent video camera one third so okay um I can't keep track um it's a one third size chip it's a significantly smaller chip, then what's in the seventy of the five of the one d mark for almost won the mark three anyways, uh, which existed previously, the pass on it h e x two hundred has too much debt, the field and the way it handles the color palette. Also, you see how the highlights are more blown out? Uh, and the shadows, it just looks like video and that's. Why? Uh when you look at something on the web, on tv or in the theatre, it just doesn't have that kind of professional field. Here is the same thing, actually, a more of a macro shot of the quality. This is what you really probably can't appreciate on the web, but you'll see, at least on the original there's, a lot more noise and compression, and you can see how the edges are over sharpened on the edge you see kind of a little bit of ah, uh a halo around it and that's kind of the video processing on it makes it contributes to making it look like video again. I'm not sure you can appreciate that on these small screen, so we'll kind of move along this is that exact same scene shot with the cannon five d mark, too and look at how the foliage in the foreground and the background is quite a bit more out of focus I'm gonna go quickly back towards the previous example you see how everything is in focus there on the can in the foreground and background are quite a bit more out of focus and uh that's what contributes to the cannons more filmic look uh here's what a full frame sensor looks like looks like and if you were able to see the original we're not changing the focus and just that small motion that he does he's completely out of focus in the beginning and complete out of focus in the back is on ly sharp when he hits his mark and that's why we're not shooting with cannon five you mark twos on this live broadcast it's just way too much work for the operators to keep me and focus every time I move um and that's a big factor we're going to talk about here's what that video looks like probably see how the background of significantly more out of focus uh then on the h p x two hundred all right, you can also see the lack of sharpness on his face relative to the next camera going to show you which is the red camera here is uh what footage looks like on the red one camera you'll notice it looks similar to the five d slightly more in focus I don't know. People on the web can appreciate this or not with standard death, but, um, just for technical limitations going to take my word for it, I think you all know, having seen camcorder footage versus seventy or five year red one, uh, and the red one you can also see the color palette is kind of just block um and in effect with the red ones. Doing is what the first cannon digital cameras did before they had picture styles. Remember the first raw files we shot with the original digital cameras were horrible color, horrible contrast. And then cannon and nikon et cetera came out with what they called picture stiles is canon calls picture styles that add saturation, punched your image and makes it look like film or, like, you know, slide and you can change that. And the red one, uh, at least the one I, you know, view is not the newest epic. Um doesn't have that built in. In fact, most ofthe when you look at footage coming out of red one, it looks absolutely awful. And by the way, for those of you who don't wear the red one is that is one of the leading cinema cameras out there. Uh the joke was four years ago when the red one was announced that it was a twenty thousand dollar camera surrounded by the quarter million dollars worth of equipment, but you have to remember that prior to the one one being announced, the nearest camera that you can shoot cinema looking like footage was a quarter million dollar camera so four years ago is a huge deal that a twenty thousand dollar basic a brick a red is a sensor with motherboards connected to it writes heavy it's cumbersome uh, it takes like a panavision crew to operate it. You don't just throw it on your camera, takes a minute and have to boot up it's a big deal that's what chase or I will use on certain project we want to have no commercial quality video um but it's not something you just pick up and go out and shoot you know I can't keep the red on my shoulder for longer than one or two minutes starts to hurt I don't want to walk around it's just way too heavy with a nausea in your lands or something, but the red one kind of looks like garbage out of the box and when you see the footage you like who that looks quite awful, but once you raid it, uh it looks much better we'll talk a little about but the fact of the red one shoot raw footage, whereas the cannons shoot a compressed file. So here's, what the red one looks like you can see it's quite out of focus. You can see he's quite a bit sharper on the cannon. Uh, a lot that has to do with the size of sensor it's. Shooting a four came a much higher resolution images. We'll get to that in a second. So what I wanna share with you really quick here, uh, is a piece I shot with jamie o'brien, surfer and hawaii's. Fantastic athlete in person. And we shot this together for three weeks, and before we go into it, I want to talk about, um, shooting with these different cameras and the learning curve. I brought, uh, two or three cannon. Five mark was with me to hawaii, and I brought a red one camera and it was big. Wake up call, because if you think that the cannons could be tough to work with versus a camcorder, the red one is just on a different scale. It's heavy it's. Cumbersome. I would show, but the crew it four. Five o'clock in the morning, it would take forty five minutes for them to build the camera what you doing in surfing as you shoot? You know, hours upon hours of surfer waiting for sets of waves, and they might have one good wave in the one or two hour period, and you have to get it. The problem of the red one at the time was you couldn't swap batteries out. Ah, and when you do swap batteries out, the camera's gonna be off for one or two minutes and invariably that's going to be one guy hits the best wave, you know, but it's a very different way of working. Um, you don't just throw a red one on your shoulder, you have to reconfigure it from being on a tripod to being on a handheld mountain or aunt on a steady cam. You don't just switch like you do with the camcorder. Uh, from handheld to tripod to steady cam, um, really, really slows you down so here's first look and what you'll see. It's five d footage mixed in with red footage and some h v x two hundred crew cameras we saw. And I should say the video is gonna be a little shopping for you guys on the internet. Streaming. You confined all these videos on my video page, uh, which is the I m e o? Dot com and just search for vincent law ferree and you can see them in the high death and really appreciate them or some equality. But I'm talking about reverie and first look, so this was effectively mixing all three medium together, you know? Yes. Alright. Cool way five the red and panasonic camcorder cannons and the big you know, this is his front yard everyday life is not fair, but when he screws up, this is what he experiences calls this the washing machine. Yeah, so that was shot uh over three weeks. Um, very interesting experience for me as a new film maker in that, uh, if you ever want to shoot something on deadline in hawaii during the winter, I really recommend you try something else and go somewhere else because, um, it rained for, uh, five days of sunshine out of twenty one. So we had five days of sun out of twenty one days where we could actually shoot where wasn't down pouring and I learned a very important lesson and it cut you know, I'd heard these stories about, you know, francis ford coppola in apocalypse now how it was his own apocalypse now the project almost died so many times he's using all his money, you hear all these nightmare stories about directors, you know, losing their minds um I didn't quite get that bad the big thing that I learned wass when you're a still photographer and you want to go get that sunrise shot you've got to get yourself up with your equipment and goes that face lower that that's your laughing okay uh craig's laughing at that yeah you get yourself up and if there's no sunrise you wasted your time your energy and no one's gonna beat you up if you're a commercial photographer you might get one or two assistants up with your worst case you get some clients up but you know what? Whether is the weather no big deal when you're out there with the volunteer crew for twenty one days and you're getting up every morning at four o'clock in the morning because they went to sleep two o'clock to get the sunrise and for more than twelve days out of that period you get up to the sunrise and you don't see the sun that will severely affect the morale of your crew so much of they will want to kill you after two or three days and you look at them and say, all right, we're going up against mark for trying at sunrise and look at you like you're not going to that house again but the reality is that your job it's much easier for you as a filmmaker to deal with that or is a photographer by yourself when you're trying to get a much a crew members to do that for you, uh that's why crewmembers get paid uh, because it requires a professional, someone who's really dedicated to what they're doing to help you get out in the sun rise uh, help you, uh, love that tripod around that equipment and make it happen, and I gotta tell you, there were many times during first look, I said, I'm not sure I want to do this I mean, the amount of stress that's going on of, you know, plans falling through weather changes last minute shoot changes because the surfer jamie didn't want to do this or couldn't do that, you know, you want to get underwater shots, no problem, right? No, you've got to find out the water's too murky if there's too much, you know, if the waves are too strong, if there's sunlight, you know, going through the water, if it's overcast and you get all your equipment ready for the next morning, shoot it's overcast or too windy or too many ways and your entire day is shot because, you know, as a still photographer guy just changed lenses, I'll put a strobe on our all, you take a pro photo packet whose importance with filmmaking is a lot more moving pieces that have to go in it's a very, very different experience so that was my own first introduction to filmmaking you you'll hear cruz say or directors say that you know they'll thank their crew and say, you know, I probably don't want to work with me again and I really appreciate what they did for me and they're actually talking the truth um some people will never want to work with you again because the experiences just test your limits of patients but ultimately we all do do it because when it comes together it's absolutely magical so I kind of want to go through that and tell you that I've been strips for some very up high highs and some very low lows in this transition to, uh, filmmaking muchmore highs and much greater lows actually the highest on say higher but lo's quite a bit lower than when you work as part of the film crew um here is a quick little behind the scenes video that shows how we did some of the stuff together and here I am with jamie you'll notice that we're a knee high water there's no reason do the shot that I was there as the red that's how big the red is for those of you have never seen it there's tab assuring the red one with a three hundred off the shore I don't need to be in like heavy waves to shoot the shot of uh the underwater camera on the surfboard it's kind of a waste of time and dangerous you'll learn that about films you cheat a lot. All right, cheating is a very common word film because, uh, it's not no one cares how you make the sausage just the result that comes out. Um, so here was an acolyte underwater housing that was custom made within seven days. Because if you remember back then there was no exposure lock on there was no manual mode on the cannons. Here's, another cool little toy. This is a remote control helicopter. Um, flown by a seattle uh local here named tad for shaw. Um and, uh here we are flying the five d mark too, under a rapture helicopter uh, lower than you would ever safely fly a real helicopter. Um and you could pull some great shots. I can already see people like texting and emailing what cat? What helicopter model is that work and I'd get one. Please don't do that, it's not a question of when or if you're going to crash the helicopter, but when and tab flies really helicopters for, you know and he has a real pilot's license, he knows what he's doing so here's the red one again, uh, you'll notice we're putting some cannon glass on it and a five hundred millimeter lens uh at two k was close to twenty, five hundred sixty millimeter lens on a thirty five millimeter cameras insane so it's a two person job I'm trying to uh pan until the camera smoothly and mike is doing his best on his end to keep the image and focus uh, which is a pretty wild feet to do with twenty five hundred sixty millimeter leads uh but we pulled it off sometimes and that we got relatively good at it and here we are watching the footage of one hundred twenty frames a second we'll talk about frame rate a little bit what you khun d'oh um and that's the kind of behind the scenes look of of that hawaii trip there's little ninja move from uh from jamie there all right, so back to reality back to but most of us are going to use most of us will never touch a red one camera and you should be happy for it. Um, that being said, you know, I work with that thing regularly and it does a great job. A certain things, um, you know, one of things I didn't mention was that the h v x two hundred the canon s h a one and the red uh don't do a very goodjob above three, four, five hundred say whereas these cannons are very comfortable in eight hundred sixty hundred even thirty two hundred essay uh remember that every stop is double the amount of light so when you go from four hundred, say a hundred say you need half the amount of light when you go from eight hundred sixty two quarter of the amount of light and when you go up to sixteen intothe sixteenth amount of sixteen times less light pretty significant difference there s o the red and the h p x I don't do well in low light relative to the canvas and that's a huge huge factor and the h v x or most of the one third two third side chick are significantly smaller chips which means there's a lot of depth of field and the red is super thirty five or smaller depending on the compression you have so it's somewhere in between um the one demark for and theseventy and sometimes what they do is they actually crop into the chip depend on the resolution you pics of even smaller times but still pretty nice uh fall off so let's start with the beginning here's choosing the one camera the number one question that I get asked by cannon users and chase is going to talk about nikon right after I do this so all nikon users take a deep breath um is what camera should I buy okay, that is by far the question that I would be so happy if no one ever asked me again here's the honest answer there's no one camera for everything that's true about red a tree ex cannons anything? No one lens for everything. Every camera has its sweet spot so I'm going to go over the three cameras that I use and why use them number one the candid five d mark two started all this big mess my favorite quote from one of my best friends can it was you that was the best thing ever happened to him and the worst thing that happened because when the cannon fire demark two's came out it's changed like tannin in general um this is the granddaddy uh it's got the biggest sensor. This is literally one of the biggest sensors you will ever find in the world today. That's a big point there. This is one of the largest video sensors available to anyone in the world today in a twenty seven hundred dollars cameras it down now and I know what these things cost. Twenty four, three, five, six hundred twenty, five hundred bucks yeah, they came out of twenty, seven hundred bucks um and the beauty of this is that lack of that the field um the pros are the large sensor. The con is the large sensor and what I said that you does lack lack of that the field on these cameras and that makes it look beautiful. It also makes it really difficult for you to focus I equate trying to focus of five the mark too while moving two walking around eight by ten field camera and a loop and trying to keep that camera sharp. It's close to impossible you have to have a second person helping you if you're doing some serious moves because remember the ergonomics there's no eyepiece that comes with this camera. You can't stick your lcd up to your eye that's what we'll talk about a little bit's a kudos the finder you stick it's your lcd and you stick that up to your eye at least it blocks out all the extraneous light and you can zoom in to the lcd screen and try to focus not easy at all uh, what the red has this doesn't is what's called elektronik viewfinder, which is basically what you see on any video camera that goes right up to your eye with a nice cup and you can actually focus it shows you a seven twenty resolution what you're doing there is one or two major negatives to this camera um initially was it didn't shoot twenty four frames a second if you remember initially didn't have exposure lock that's all gone now the one reason I do not use this as my on ly camera this is the best camera period for me uh in that it captures light the best ways the skin tone the color tones are fantastic the grady ations from light the shadow are the best this is my favorite camera in the world today phrase dslr there's one exception uh these cameras have an hd hd my port on the side okay those things allow you to put uh, external monitors uh onto your camera we could go to the wide camera here for a second and um you're gonna want to use thes external monitors uh with these cameras because we'll see uh you can't shoot a film with only the camera operators seeing what they're doing the director the producers are gonna have the actors have to go see how they're looking um it's not a very collaborative process when you're kind of like don't look at me you know it's my little it's my shot you know you can't work as a team is part of that so what you do is you end up plugging monitors into these cameras and the key thing to remember is when you hit the record button on the five year mark too the signal goes from like seven twenty p resolution which is a pretty high resolution and drops down the standard definition okay there's only so much that little camera can do at once and what that means is you there's no way in the world you're going to be critically focusing lens wide open with the video signal coming out of the five demark too when you're recording you guys get how big of a deal that is here you have incredible cameras largest sensor in the world that's incredibly shall that the field but you can't see what you're doing so you come to rely on setting marks which we'll talk about just like you know film technique but guys you can't set marks with documentary people you can't see it can you hit that mark right there as you cry when you get that phone call about the dramatic event you've gotta be on that mark because if you're that far you're gonna be really out of focus so you know work with me here not the way you do a documentary that's why don't think the five d mark two is the best camera suited for documentaries that's why having a camcorder where everything's in focus you just capture the moments let's quickly jump to the camera that I use the most uh which is the one demark for this is of course surprised the most expensive one that's when I use uh this one comes in and around forty five hundred dollars I believe under five thousand I think is right it five thousand now I mean these prices fluctuate and uh it's big it's heavy which actually makes it more stable but there's two things this camera does it shoots at night it's not quite night vision close exaggeration but it will shoot it's thirty two thirty five hundred say incredibly and I'll show you a short called not turn in a little bit that kind of proves that so the little light performance of this camera's amazing the skin tones the color of the radiations from light to dark are not as good in this camera as they're on the five we'll talk live it up bidding and anti alias sing it's also not as good as this on this as it is on the five technical terms will get too but overall excellent camera I still have the five you better but when you hit record on this camera it stays in seven twenty so you can critically focus with this camera as you recording which is obvious but it's a big deal that's why I use this almost my productions because of the ability to do that with seventy now and what I forgot to say I'm sorry such a basic thing you guys got interrupt me if ever gets him the sensor on this camera is smaller than the five year mark to its thirty percent smaller it's got a crop factor of one point three times so ah hundred millimeter lens on a five d is one hundred millimeter let's on a one demark for its one hundred thirty millimeter lens that really comes to affect you when you go wide you're gonna put twenty millimeter on this and that's a twenty six millimeter lens equivalent so when you're indoors you want is really wide landscapes these camera starts really hurt you. However, if you doing sports or nature you love it because the three hundred becomes eh what's the math on three hundred three ninety millimeter let's okay, then comes the seventy, which I think is one of the best still cameras that I've used and it has an even smaller sensor it's a one point six conversion factor so sixty percent smaller so one hundred millimeter lens on this is one hundred sixty millimeter lens twenty millimeter lenses, a thirty two millimeter lens for those of you that no leads as well there's a huge difference between twenty and thirty two millimeter lens so keep in mind what you save in paying for a cheaper body you're gonna pay for in lenses you're going tobe I'm or expensive ultra wide lenses to get the same shot on the seventy that you would with a longer lens on the one on the five year mark tubes that makes sense also there's a cardinal rule in uh electronics the small the censor, the more noise it produces so you can expect to have less noise from the five d then you can on the seventy is that true? No, because of the processing of stuff I've done um I would say the seventeen the five year are close to producing the same amount of noise uh this has newer technology but sensors smaller, so they kind of even themselves out where is the one demark for uh clearly does the best in low light so you want you to film at night one day mark four you want to shoot a film and expensively just get started seventy's a fantastic camera you could try the rebel the rebels out as well. I don't have much experience with those I'm not going to speak to them and then the five d for me is my favorite camera will still and video I hope that's enough of that uh as you can see, there isn't the perfect camera and that's the key there is not the go to camera that I could use in every production if the five d mark too had ah, hi res hd my out we'd be in good shape. This is vince's show, but he was kind enough to say, hey, man, have any nikon stuff, but I want you know, this is kind of about the democratized, uh, the new democratization of filmmaking, so he said, I don't know anything about a nikon platform you want to bring a camera or two or three down and I just brought one down because I don't want to have a beer the year that um so what I have in my hand it looks very much like uh what vince has been holding this is the nikon d three s which is their full frame video equivalent of going to be most like if it's full frame can uh doesn't have a video cameras full frame that's get the professional features that that that's so it has you know the one d s mark free which is the equipment that was still world but it has to five d which is the killing of that in the video world I got this that's the next camera roll waiting fool is the most recent released from these guys that's a d three s I think I said that and hard to keep track in this yeah I heard you're limiting about that earlier and you've made a bunch of points as I said earlier I was watching from home and your gear is really important and there's a big section on gear and for all you gearheads out there in the world you need to know your stuff but do your best to avoid getting lost in the gear because in many ways that could hinder you from making a great film you know you made a great point earlier about I've got my own this equipment I'm at the olympics but I don't want to go get the shot because it's gonna get seventy pounds went back in you're kind of adjusting but in reality it is the truth it translates into those sorts of problems but also kind of paralysis through analysis on rico jameson had two lenses for his whole career so don't get lost in the gear but this isn't um if you guys won't know we had dinner last night what we talk about you know we had dinner with marcus and marcus asked chase a technical question about something he'd shot chase was like I don't know what setting is that things were on and I ask for the same thing you know the more you get into this the more you're gonna realize that filmmaking is not about this you know and what's different about filmmaking in photography is will you work with people whose job it is to be camera operators and technicians who know all this stuff and I am becoming the photographer and filmmaker ice swore I would never become when I was a younger guy I would see those commercial photographers not know what aperture they set their camera to not know what leads they shot something with because their assistance did it for them and I just made fun of those guys because I just think that's just the worst person to be and I will admit in public that I am becoming that person and I'm definitely ashamed of it because I like to be the year ahead, but I also appreciate why that happens I think chase does as well is because at a certain point your career people are coming to you not because on lee because you know how to set a menu setting or a certain frame rate or whatnot, they're coming to you for what's in your head and what's in your heart and in your eye and that's why, you know chase has made this point just now, and I made it it's not about the gear, you know, uh, you know it's about the pictures or the film, so back to you yeah, you said it beautifully and when vincent was talking earlier about it's very collaborative process it's very team oriented and I can tell you almost any picture like a still picture that I've shot. If you say so, what was situation, as I can say, is probably on one thousand or maybe a sixth for you for a second, and it looks that pictures pray about it for and I saw a thousand and here I'm not caring about it, I'm looking at the monitor and I say I want to showered at field and someone cranks that button and it's there and it's it is a little bit of a departure from think both vince and my background as being uh control freak is the wrong word but just really taking pride in knowing your stuff and trying to focus more on the overall picture because there's more moving parts so you and if you're busy focusing on what hurts your audio is on as a director you're not focusing on the most important part is wind the world do you have that audio coming in or wire shooting this shot? And if you lose sight of that it's just too involved in that I think you're gonna miss the big picture uh yes o start talking my gear for a second, my dear um everything is very similar to can and I can't accept their exactly opposite lenses go on other way focus ring folks is the other direction the similarities are that just in the same way that you don't get to see through the eyepiece here you're looking at an lcd image on the back of the camera don't you guys get that over there? But um and in the same way that vince has time to use the kudos the finder um with some of the lower level cameras that matt nikon they did make the first, um hdd slr, which is like andi ninety which I launch for those guys and great lunch after that um and the nikon d three hundred s scott try man if I'm blowing this um and both of those cameras don't have the full manual capabilities that this one does they do have some adjustments you can make but it's more with a thumb like brighter darker this camera much like the cannons is uh after they made some changes right? The firmware updates and the firmware update is fully manual so um when you turn it on however it's not manual by default it comes on in the same way that a camcorder would in all with all of its auto settings so he could kick on the night cons it's in an auto setting and I'm gonna take this kudo off so I can show the folks here in the studio audience so all I do it for the night connors I pressed this live you button and then you see basically with the sensor sees and it's to the other camera which one you're either way uh if you can zoom in with that camera onto the rear of his camera here you go once you show that again real quick sure so when I turned it on came in just like that and I'm seeing with censors seeing here in the back of the camera and I want to kick it into manual mode I just press the okay button and then you'll see a meter over here and well these camera settings are adjustable you can customize and swap those around generally speaking the thumb dial is your shutter speed which is going to affect the image of how it's captured but also how it looks it's going to change the exposure in the same way that it wouldn't still world um it does so more subtly than the aperture which is the front button here and that you know if you can get a look at that john but um again those air fully customizable probably exactly the opposite of canada yeah you can change that you could change the order on both right yeah they're both customizable but uh and you two have a meter here in the side although I typically don't don't focus too much on the meter um and there are settings in here just like there are in the cannons that allow you teo too show the areas that air highlights and are blown out um that's the d three ass which is their top of the line pro video body below that d three hundred slightly less functional functionality um and so that one of the three hundred s has audio in as well this one has audio um but the d ninety has no audio in is that right? The first one that came out didn't know that you forget I mean things move on and two years ago one hundred years so that's kind of the nikon platform um is there anything that either scott wants and chime in on or you about how you set up the menu's in the camera and things need to avoid any settings with cannons? There's quite a few things you want to go through. Come on, come on out here. Pick up the mike scott. Okay, so in the shooting many, which is the little green camera on the left um, you have quite a few controls that affect how the cameras shooting and it's extremely important that you get into these movie settings here and then you just pressed to the right, um and that's going to tell you it's going to be decide what your cameras doing for its audio pickup? Uh, where which memory cards a lot of sending the video to, um, but most importantly, that's, where you determine your video quality and if you don't address that, I think it actually comes with it not being on default. Seven twenty high rez. Um and so you need to make sure that you're shooting the highest quality you can get, which is the seven twenty by twelve eighty. Uh, because to sixty by three. Twenty video image is not going to make your client's happy um, so make sure you hit that, uh, other than that, you know it's it's a lot of the same controls that you want to address when you're just shooting stills in terms of how you have your camera sharpening a reducing noise any of those sorts of things how it's addressing white balance all that so we're generally on you know, full manual control of pretty much everything we can get um do you use noise reduction or anything you think you stay away from just kind of stay away from pretty much all of it yeah I think it's the same with cannons just take all the fancy stuff off yet all that stuff is done and it's meant to be done uh postproduction process and whatever you're doing in the camera tends to limit your options after you've captured and gone home and you sit in front of the monitors uh so we tend to keep that stuff off uh especially with I do a lot with the red one and that hasn't been said earlier shoots a raw image which is you know, that's what we all want these h india's largest be shooting someday soon um I think I even sent your emails joking one day that guy came out with the wrong way and and uh can you explain to me why doesn't shoot ten eighty you started it man I said and what I'm going to go there yeah, there we go but no it's it's all good so yeah, that's the that's basically the candidate for the nikon and it's, not again, the most of the features of the same they just are located replace. And he mentioned ergonomics, uh, that's one of the reasons that I actually like nikon their bmw mercedes, I would never say a bad thing for all of you that drive bmw's and mercedes. Um uh, they're both great cameras, and you can't make you can't make a bad choice. It's really a platform decision? Are you going to shoot a tedious hole? Are you going to shoot a camcorder? Are you going to shoot a red or a phantom agency or something like that? So within that within that class, you're and to chase's point you find the ergonomics and the menus of the canton icons are work much better for you, right? I can't stand them in the same way that if he went to cannon, he'd probably feel the exact same way. A lot of this is but what you're used to. And don't forget that itjust menu's different ways of interacting when I pick up a nikon body I cannot navigate for the menus. It's too confusing, I don't have enough hands to operate a can cool fun is, I think, uh if you really wanted truth scoop from either chaser I uh about which camera to pick um I think we don't we're gonna pick whatever camera works best for us no matter what brand is made uh then on the day my clients they don't care about what brand shooting they want the best image so will use whatever cameras the best camera for the project which is ultimately should be the default anything you should stick to those principles regardless of your pain on manufacturers you need to pick with the best camera for the job so um sweet thanks a lot. Thanks a lot for coming my pleasure and, uh I'm really excited that you're participating in this thanks for someone of a guinea guinea pig fashion for the first like three day intensive workshop uh I said I was captured at home and just glued to the screen with what you're saying so thanks a lot, buddy appreciate it. I'll see you for dinner tonight. All right? Sounds good. Thanks. Jason scott for coming. Thanks for showing us the dark side. Um uh I hope you guys are still engaged. I was really happy to have chase here uh, this we're entering the kind of technical zone right now where you're gonna lose a lot of people were going to go over what ten eighty means versus seven twenty versus two k and s d to some of you you may have your eyes glaze over because you don't I have much interest in this but I think it's critical for you to know what twenty three nine eight sorry twenty eight twenty nine eight uh versus thirty versus twenty four versace kenny p attendee I means because this is such a basic language of video uh that we have photographers don't it's like no and we're going to kind of go over that really quick we're going to go over some very basic technical terms and video uh that are the foundation of any videographer filmmaker that you have to kind of need to know let's talk some basic technique and uh I think you guys all need to have this very basic foundation uh what is ten, eighty meat? It means that people ask me this question every day if I want to take a snapshot or screenshot of video and run on my website can I do that? The answer is yes because on ten eighty uh you have nineteen hundred twenty pixels by ten eighty hi uh that's what? Ten eighty means the height of the image um they're one get that it's quite that simple. So when someone says you was the camera shoot ten eighty or seven twenty uh ten eighty is the high standard for high definition today uh the next resolution down is seven twenty which is twelve eighty by seven twenty, twelve hundred eighty pixels wide by seven twenty two you can see that rat graphical representation on there with those rectangles is actually, uh the correct ratio so that's how much less resolution you have on a seven twenty image? You will notice that difference very acutely on a standard television. Um if you ever go toe one of these mega stores and this fifty inch screen is significantly cheaper than all the other ones and you go, why is that? Why the half the price? A lot of times? Because it could only support seven twenty and I tried to get rid of it. They don't tell you that because you want to get rid of it, but it doesn't, uh basically support high def seven twenty years high definition technically is that fair to say marcus seven twenty? Not anymore, but initially it wass you know anything over standard def is high death, I guess um because let's go down a standard death, you'll notice this is six forty by four eighty that's what we all lived with until a few years ago until high definition tvs became the norm and look at how much smaller oven image that isthe relative to ten eighty that's a heck of a lot less pixels to move at thirty frames a second relative toe hd and uh that right there is I was chiding chase a little bit just a game mon because we're starting that with each other um but nikon has not shoot higher the seven twenty right now and I've spoken to some of the reps and ask them why and they said that you know their audience right now for this camera's our photojournalists and they don't think that the average photojournalist needs to do anything higher than seven twenty and if you're talking about streaming to the web you're quite right most computers and ban was cannot handle ten eighty right now it's just way too much data so almost every movie you'll see of mine posted on the web is seven twenty or just a little bit under arrest for apple tv keep that in mind as you go forward and then you'll hear something called to kay and sounds really fancy and daunting that's what the red shoots uh at a certain frame rate and it also shoots four k and all that means is his tooth thousand case for thousand two thousand pixels tall and on lee slightly more than ten eighty resolution all right, so there's a this big fancy thing about to k projectors to qet this to ke that it's not a world difference uh versus ten eighty hour four k is a heck of a lot more data you gotta run this stuff is exponential uh so uh tremendous amount data coming off camera uh and what hollywood does is they like to have four k because guess what it's like having you know the cannons right now shoot on twenty one megapixel chip huge sensor and they're down sampling it really quickly to get ten a teepee resolution what hollywood does they shoot in four k and they're able to crop into the frame after the fact because they've got twice the amount of pickles that they need so a lot of camera moves could be done in post so you want to do a pan or tilt don't bother moving the camera doing post does it look the same as a pantera tilt depends on three dimensional of your environment so there's a real present a reason people shoot high resolution even though the average television it doesn't do anything closer to four k um there are some four k projectors out there but they're pretty rare and it's hard to tell them apart well can resolution you guys now know what ten eighty seven twenty two k said sdf let's talk about interlaced versus progressive what is ten eighty I versus ten eighty p you guys recognize those little numbers will letter letters at the end interlaced is two images think of it the best way I can describe it is my two things would go that camera interlaced alright so your image is made up uh can you guys put me on the screen halfway? All right, this is what interlaced iss and the idea here is uh the camera is cycling between these two fingers at thirty frames a second but think about it each each frame on ly contains fifty percent of the data. In other words, the camera has to process half as much information thirty times a second all right it's just a different way of of processing the information in other words, one frame has all the odd lines and the other frame has all of the just doing us my son who is six years old uh the even numbers to the odd and even numbers is basically that and the reason they do that it's not for quality is some because they initially the cameras could only handle so much so it's much easier at a fast frame rate cycle between the two uh and that's what your camera can handle your tv can handle I don't know if you can see on the on screen example, but you'll notice that when you freeze the frame on interlaced footage, you'll stay physically see the lines that's why? Until progressive became the standard has now few years back you could never freeze video that was a major reason no one even think of doing it because of the interlacing er it looks absolutely terrible okay um interlacing is kind of going away to progressive because progressive means that every single frame um is the full still frame effectively it's got both odd uneven lines you can freeze it, you can absolutely pull a ten a teepee or seven twenty p image recognize I'm not saying ten eighty, which means a resolution p which is progressive as opposed to an eighty I um and you can actually do a frame grab of any, uh, video and put that on the website. What is the one thing that you cannot do or technically cannot do in terms of pulling a still frame off a video what's the one technical imitation lost the guys here no, no, you get away with that frame the shutter speed so don't forget er that when you shoot video you're almost always shooting at a fiftieth of a second okay, which means that if you've got a football player running for your frame, they're gonna be blurred the entire time. That's actually part of what y film looks like phil is because every single frame is actually blurry and it looks much more filming uh when you want to freeze a dancer in mid air that you shot on the video camera and a fifteen second, they're going to blurry uh most of the time that's the one reason right now while you can not off a fascinating subject pull frame grabs uh and use them as a um alternative to actually shooting stills that will change some day you will be able to shoot in my opinion a still frame at a fast shutter speed of high rise so uh and video a forty seven fiftieth of a second okay, kiki term you can you can absolutely use frame grabs from reverie or anything you shooting the cannons or than icons and build a website around just mind keep in mind the motion blur okay uh and then I think there's the interlacing kind of gone over um so everyone now knows to keep basic terms ten eighty seven twenty two k interlaced progressive okay comes to the next question of what's what are frames per second? Twenty four frames a second, which is actually twenty three point nine eight or nine seven what's the correct lines it's a long you know, like pie number um and that's for video is the universal frames per second for film is the way it's been. People like james cameron actually want us to go to sixty for a variety of reasons it's just kind of old school what you see at the movie theater off a every day thirty five millimeter camera what is twenty four frames a second mean that there's twenty four images flying by your eye per second it's called persistence of vision even those twenty one individual images your brain process it as a moving image you've all seen little leads in times square. The ticker symbols through actually little lightbulbs going on off. But if you do it a certain rate, it looks like they're moving it's an optical effect and that's what frames for second persistence of vision is on that's how filmworks it's pretty fast when you think about it, that film actually cycles twenty four, thirty times your eye per second that's. Why you'll see screens flickering in the back of a video times you know our led lights on lights the night ali needs, but other light sources will fluorescent flicker depending on what france for second use uh, twenty nine point nine seven is thie, uh, industry standard for tv? Uh, which we simply call thirty frames a second. So here's a quick little side note buchanan five d mark two and initially came out shot at thirty point zero frames per second. No one shoots at thirty point zero frames a second. Uh, no tv camera and no camera for tv in the world shoots thirty it's all twenty nine seven. That was a big problem. Um, and until the firm where I came out, you wouldn't be able you wouldn't have been able to shoot the five d and thirty and seventy eight, thirty actually seventy was doing twenty nine seven and the five he was doing a thirty so am I losing a lot of you that perhaps I am this is the technical part we're almost done but understand that when an image is being shot up twenty four frames per second you can't mix it with another images being shot up thirty there are fewer frames per second happening and what you're going to have to do is slow down the thirty france for second twenty forty mashing together so people will be talking slowly during the right math in the right direction yes or you're going to have to speed up the twenty four frames to play thirty and converting from one of the other is definitely not easy it's never been easy there's soft like twister that does it compressor does it uh nothing does it as well as the camera so those who may remember how much clamoring there was to get the five demark too short shoot twenty four frames a second everyone was asking for it now you have it it's no longer a factor you haven't updated your firm where on your five new mark to that you get bought two years ago that would be a good time uh sixty frames a second is I'll get you one second is simply that you shoot twice the amount of frames per second that you need why would you ever do that slow things down if you get twice the amount of frames a second you need, you can play half speed of thirty frames a second and observe stuff so for the surfing stuff yourself jamie o'brien a lot of that was shot sixty year one hundred twenty frames a second one hundred twenty four times multiple so you can see something happening four times more slowly so you can actually see water beads coming off the board you can study ah one second clip or more realistically a quarter second clip and surfing goes like this and played out along one second slow motion and really study it yes ah, in ah when you did the slowdown in the surfing, did you use the red one for we're using the red one at that time because that none of the camera shot sixty frames a second that's a big part of the reason as to why I took the red one onto that shoot is I knew you cannot shoot a sport, let alone surfing at thirty france for second it just can't slow it down make it look good. So so if you're shooting the the five d mark two at twenty four uh twenty four p yes frames per second and you want to do a segment in your in your movie that's sixty sixty frames per second, right at seven twenty how do you mix those? We'll talk about that in post but the sixty is gonna have supposedly you're shooting a sixty for purpose which is well your back it's only shoot seven twenty sixty yeah, well yeah how do you get that's what's confusing so I want to show a slow mo peace or some action if that's what you're trying to do that's easy you're simply going to show that slow down you're sixty and played at twenty four thirty it's just gonna be twenty four slightly slower than thirty so but how does it how does it mix with isn't when you shoot sixty you're shooting a seven twenty p, right? Right. So you're gonna have to appraise it, okay? You're shooting a low resolution, we have to blow it up so it's not difficult there's a formula to do that in yes, it's all math and it's all done in computers. You have to, uh, press the sixty seven, twenty footage it's a resolution issuing a sixties a frame and slow it down. This is where people online start to go. Ouch! It hurts, right? But that's video I mean it's it's it's a big part of it. Once you get it, though I hopefully you're getting it's just a frame rate and a resolution to things you did with the video um and that you have a very hard time mixing different frame rates together as well as resolutions where's there's just not such an issue you just blow it up or shrink it obviously do you think you'd get the same quality of seven twenty on the screen you do off ten eighty you saw how much smaller that ship is it's gonna look a little blurrier? You know, if you look at the jamie o'brien film, you'll see the stuff that was shot in the water a lot of it was h v x you can see that is shot with a camcorder versus the red or the cannon. Yes, there are a lot of I've noticed this question come up over and over about what is so great about twenty four p okay, uh it's a very fair question and I think frankly, uh, it's um a little bit of the hubris of filmmakers involved there and the chest pounding that they like their twenty four frames a second there's actually a very legitimate reason for it in that most high end projectors literal protectors will on ly project twenty four frames per second footage. So when I first showed reverie at these big projection busa disney at campus and all these places they physically could not project the movie they had to convert it to twenty four um as individual frames and play without music or sound because when you convert the frame rates down, you start going to start to run into issues what's sinking sound as well because when you slow down video um you can you have two in fact render frames that don't exist yet to do some weird math and that creates a lot of issues with sinking sound one of the biggest mistakes you could make when you record sound is to record your sound advice twenty four frames a second and your video camera thirty guess what, you're in big trouble if you do that trying to get stuff to match later great severe issues for you so the twenty four frames a second thing the legitimate reason is, uh for example some contest would not accept stuff shot at thirty frames a second cause they couldn't project it on the projectors some so I think the academy award at one point they still not accept anything shot thirty um you have to convert twenty four so they can screen stuff etcetera so it's a technical concerns and I got to admit that twenty four frames a second just looks more like film why that's what film was shot at has to do with the shutter speed and the way things move so here's a quick quick point if you go to aa big you know uh mall with tv's on it you'll sometimes see video it looks very jerky you know, we were talking about the night about how we saw avatar on these new television screens they have very fast refresh rates and things look very jerky and like video and you can't quite put your your finger down on why it looks like video it's because the refresh rate is way too fast and making stuff look jerky so one of the things we're going to go over it one point is shutter speeds I recommend you shoot every single piece of video you do at a fiftieth of a second one flight one slash five zero which is the closest thing to what emotion picture camera shoots that has won forty eight you never should go above one twenty fifth of a second and you can't go below a thirtieth of a second if you're shooting thirty frames a second obviously right something sense so photographers are used to using the shutter speed as a creative control that control the amount of light you complete lose that in film and understand that while you could go up to the fourth power of the second on eight thousand that's gonna give you a very staccato looking film that looks like video uh for those of you who have seen saving private ryan the opening scene of d day remember how the soldiers moving very abrupt movements slow down that's used for dramatic effect and it works there could slow down for the most part if you're shooting video at an eight thousand of a second or two fiftieth even you're going to see it feel like video and not like film that's because one of the secrets ingredients to the sauce of films is that the shutter speed is one forty eighth or one fiftieth which means is a lot of motion blur in there on purpose it makes it feel film because I answered the question adequately yes thank you so much there's there's the twenty four frame thing I think uh it gets eclipsed by the fact that shutter speeds probably more important than making your film look filmic but you guys all know how we used to watch his video cameras two three, four five years ago if you were alive back then uh that uh we just looked like video it has to do with that frame rate and that shutter speed and the depth of field as well all right let's move along to the big cook the big question compressed versus raw okay uh the quality that's being captured by these candid cameras is phenomenal if you look at a still image coming off a cannon five the mark too it is one of the most gorgeous deluge is I've ever seen from any device uh right now um the cannon cannot capture that full resolution image onto the card think about it as trying to write for photographers a sixteen bit tiff uh thirty times per second that's one hundred forty four megabyte file the paying another pixel thirty times that is a tremendous amount of data to write down the camera basically simply can't handle it so what they do is they compress it on the fly live and the format all these can shoot for is h dot two six four there's some more gibberish coming your way uh h dot two six four is a compression format that you guys might recognize if you own an ipod or iphone this exact same compression they used to send out um all of your movies that you see on itunes it's a format that really is meant to deliver information it's not an ideal format for recording um and that's why when you play back a lot of this h dslr footage on most of your computers it will choke because it's compressed format and has to decompress thirty times a second and we'll get into post will talk about how to convert it out of that format into one that your computer can support fair enough listen again to that right now the main issue you should realise is obviously with compression comes loss of quality all right a red camera does capture four thousand pictures tall a four k image hunt off not thousand twenty times it actually goes down there to k at that point but it khun do it twenty four frames a second raw that's why you're paying twenty thousand dollars for that camera that's why you have to buy the fastest cf cars and hard drives made by man today because it is a phenomenal amount of data if you think you guys have a lot of footage and using a lot of hard rise up with these little canon cameras don't go to read you will shoot terabytes upon terabytes of data per day it is insane chase was not joking when he said that, um you're gonna start buying stock and hard drives, you know, effectively, uh as you go into video, the amount of data you shoot in the same, so, uh, the red shoots raw footage and what does that mean? The best uh, explanation I can give you is remember when we all shot j pegs remember that there was a certain level compression associated with them and we few still to this day she's a j peg and you blow your exposure or your color balance you can't correct for it because the camera is throwing out a tremendous amount information to write a compressed file, she could write a heck of a lot more jape exterior camera thatyou can raw because the raw file significantly larger, but the raw file captures everything at sensor captures so you don't have to shoot you you have to set your white balance you have to be as careful with exposure with raw because you have a lot more information to fall back on when you use aperture or light room or cs three, four, five uh, you're working off a rye image, same exact thing with video, so while the red may look like garbage coming out of the camera's, sometimes when you bring it into grading, which is a fancy word for color correction, you have a tremendous amount of information to work with. In fact, it doesn't even matter what I have to tell us that you're red too, because it's just recording with the, uh, the cameras recording anyways, uh, where is on the cannons? You've got to be a heck of a lot more careful, and the best thing I can compare it to is think about recording thirty, see our two files or any f miles per second and the amount of data that represents, but also your wild lad to it gives you versus thirty medium sized j pegs a second. That is, what age to six forest it's, medium sized, highly compressed j pegs they're going to have artifacts, innit, noise issues with it, you're not going to push a j peg or issue six forest far as you can, a raw in post but it's, this thing, they feel even smaller file when you pull out a cf card from this and say I can shoot two hours or four hours of footage on this one little cf cards, people in the video world go crazy oh my god! That's revolutionary there the sacrifice, though it's compressed footage and to this day there's no h dslr in the world that allows you to output for wrong and that's what we're all waiting for, but most of us aren't thinking of the repercussions about the amount of data we're gonna be dealing with in a short period of time. So some key things very slimmer still photography when you shoot compressed footage, you have to pay attention to your exposure the same way they have to pay more attention to explosion. We're shooting a j peg forces the wrong you guys get that because you have last data you're throwing out thirty, forty, fifty, sixty percent of the information, you're not going to look correct, that exposure as much with a j peg as you enter the wrong do you have? You get that? Okay, so you've got a much more careful. A lot of us is photographers have gotten lazy, withdraw, I don't sit my white balance anymore doesn't matter, do it in post right? Whereas five years ago I said it religiously, I would get down on the degrees kelvin and add a few points of red, green or blue in him to get the perfect exposure at each stadium. Now, I just put on a w b and do an aperture can't do that with these cameras, you're going back to the j peg world, you've got to set your correct exposure, you've got to set the correct white balance as well. That's absolutely key you can't go and shoot inside of a tunks and environment, which is indoor lighting the very orange light and not set your camera tungsten because you won't be able to make that color correction off the canon cameras or the nikon cameras, you will be well do offer red because that's a raw image and, uh, key factor and your camera settings are going to be significantly more important uh, with these cannons then uh, almost any other camera that she was wrong because you can't change the sharpening or the contrast saturation? Uh once as well, once you've recorded onto the cart. All right, so here's a key key key factor or key concept with these cameras? Because it's compressed footage, you're not going to be able to push the footage and post as much as you would be able to push raw that's absolutely key so you're gonna have to pay a heck of a lot more attention on the raw settings you put on these cameras before you start hitting record a lot more discipline, okay? And we're going to go into those camera settings in a little bit chase went over in a little while ago for the night cons we're gonna go into detail um with this in a second, obviously we spoke about resolution in france for second I'd be foolish not to go over it now and you kept the camera make sure you set the correct resolution you want to shoot at and the correct phrase for second that goes with any piece of video equipment you always want to make sure you're the correct phrase for second, so we have an audio device make sure it's at the exact same, um frame rate as your camera. One of the things that anyone will ever do before they shoot any movie or documentary is they were record ten minutes of audio and video you starting your slate minute one and your slate minute ten and you'll see if there's any drift. And what drift means is that the cameras and the audio device are not perfectly sync and that's absolutely deadly because you have someone talking with their lips and we'll be tense ten frames delayed on the other end and trying to fix that is absolutely deadly right and cheaper cameras ty did not do that as well as the professional high and cameras so we're gonna have markets going into, um the camera settings that we use on the cannons he's actually going to navigate through this with the menu um how you guys doing? I know it's this technical stuff it could be a little bit tedious, but, um this is something you kind of need to learn uh, picture style the first thing is you're gonna go into, uh, where the candid camera is into your menu and as we mentioned before, you need to carefully select your picture style in effect produced the least contrast e lee saturated an uncharted version of video you can't because you cannot un sharpen an image and post it's very hard to remove contrast and post it's very easy to add it it's a very, very key factor. Now one of the things that's a major gripe that I had with cannon is that every menu is different between the five d seventeen one demark for it's absolutely maddening so hope they're listening but they all have this thing called picture style in the bottom left there and go ahead and like that marcus um you will see that you're going to want to go down it's going toe usually start off its standard you're gonna want to go down to use it to find one and go ahead and hit the info but said the detail it's really important to select the picture style starting off with neutral all right, so this setting even though all the things below are the same whether you picked neutral saturated on the top will actually have a bearing on the settings below and uh go down the sharpness it usually starts off in the middle you're gonna want take your sharpness all the way the left in other words turn all sharpening off to zero you do not want this camera to sharpen anything for you it will accentuate every single defect that you have uh and you can never ever fix that in post so first thing I do with any cannon I said sharpness all the way down I go down to contrast and I take that down to levels sometimes more this is something you have to do on set that thing on your lighting but on average I set it down too on contrast and I set it down to on saturation. Okay, this is my formula. You guys will be able to play with contrast and saturation on your own uh and find the one that works for you a nature photographer filmmaker will want different types of pallets that a photojournalist, for example remember that as you change the contrast of saturation down, you're creating a flatter, less saturated image you will lose skin tones and colors but in general it's easier to adamant posting to remove them um and uh the rule with digital images the reason digital images like the red or the initial still cameras came out so blocked is that you wanted avery unsaturated image because you can always add it you know, back in the day that's basically it for uh picture stars it's not that complicated this is the very first thing I do with any candid camera let's go ahead and navigate out of there and you don't touch color tone a quick note you could go in canon software and create your own user to find tones in the software so you can actually set your specific curve in the software and loaded into your camera. I will say this is a very dangerous thing to do you don't know what you're doing I know some filmmakers they're shot you know, weeks of film with their own customs style that looked good on the back of the screen and they get it back and he looks absolutely unusable after the fact I personally do not mess with it. Okay, uh do what you will for what works for you just you know make sure you know what you're doing yes, so when you're shooting uh stills to use the same picture style or to use a different picture style I absolutely use a different picture style for video stills uh the reality is picture styles actually and the reason I was pausing it that are actually irrelevant for stills because you're shooting a raw file I don't shoot j picks when you think about it you'll be able to change all these officers are to or any f in post the microphone yes uh you'll be able to change all that in apertura light room it doesn't matter what you said it too because nothing's being written to the raw uh whereas here it is it's not a raw makes sense yes, I was curious I've played around with this but I haven't come up with any definitive answers um if some of the settings in the canon soft are in the canon cameras like highlight tone priority or we're auto lighting optimized how those might play in pictures turn them off so uh we're going to jump to that right now back to the keynote and do a few more settings of that you were asking about, uh, figure but kino back on the video um I recommend you turn everything off basically uh highlight tone priority turned that off why uh it's been found that this actually creates and much noisier image okay, so we're all looking for the cleanest video possible grain is really not your friend with video because you can't remember or grain that's an old term meaning noise it gets re compressed and creates his weird funky patterns so you really want try and make sure you have the least noisy image to start off with so I turn holly priority off high tone priority I turn auto lighting optimizer off it's actually really cool neat feature but you can't use it for video we were shooting us this spot where we're panning the camera from left to right and the seat started the flicker master looking around all my lights I thought is my screen dying? Are the lights flickering? What in the world's going on? We couldn't figure it out and we realized that what all light optimizer does is it's kind of calculating formula is live and making decisions on how much to bump up your shadows or not and as your shot changes so does the content and the formula changes so these seats would kind of start to glow and go dark grid go glow and go darker in very weird psychedelic ways so we learned to turn that off okay next one is on elias so these cameras have an audio aya so function which allows them to pick the air the ice so same thing for you I s o the international standards organization is the american state association means the same thing is then used to uh the funny thing is you can generally tell a young person because they'll say I s o this is an older person who says say most young people have never shot film and they're really old farts say did um but just kind of a language thing um turn that off you don't want the camera choosing uh your film speed for you it's going to be fighting with that that that thing the whole way uh and a general recommendation I have not done these tests for myself, but people claim that at least on a five day march to the performance in multiples of one sixty is the best meaning they say that I s o one sixty gives you a better image than I s a one hundred and they say that I saw three twenty sometimes give you better report results in one hundred you remember the chip has a native um you know, sensitivity to light and as you change it around um you it's got a natural sweet spot and apparently it sounds like anything of multiple one sixty is the way to go. So if you believe this and I haven't done my own test but I've read about it on the web, you can search for this I'm sure you'll find it quite quickly probably shut the site down um one sixty essay three twenty eighth say six forty eight say twelve fifty eight say supposedly is the ideal associating said he scares that and they claim that saying it at twelve fifty eight say we'll do better at times and four hundred doesn't make much sense don't know how much I believe it but I've seen the examples online and they looked convincing okay um we'll talk quickly about maximum esos how high can you push those cameras generalities I think the five the mark too does really well to sixty hundred essay at thirty two hundred say it really starts to break down and if you look back a reverie carefully uh every time you see a lot of noise in the sky from the aerials or the first shot we were at thirty two hundred say remember back then I had no control over it the camera has an auto aya so mote old time it picked the I s o and aperture it felt like um on the seventy I don't feel comfortable going much higher they handed out so people you know I could start to see noise and he had a nasa because the chip is seriously smaller people can shoot that camera sixteen no problem I just we all have different thresholds for quality that's my comfort level whereas the one d mark four I won't hesitate to put the three, two hundred say okay granted if I want to really clean image to put on a motion picture screen I'm not going to go about five six forty essay now okay don't forget that every person's gonna have different requirement if you're going up to fifty foot screen, you're going to see something, but if your audience is on the web, you're gonna re compress that footage anyways that's why these cameras are actors so forgiving they don't produce nearly as clean and image as a red one, for example but don't forget that ninety nine percent of people consuming your media are consuming it as compressed footage very a few people off this audience are going to projecting this alongside avatar on a fifty foot screen okay, color space we're getting towards the end people s rgb versus dobie ninety eight complete your relevant in video don't even bother setting it beside run over that real quick doesn't affect video the four four four question versus four to two and four two o that is basically equivalent of a sixteen bit versus an eight bit versus I guess a forbidden and they really hurt in a four bit, uh image but it's just more amount of information in the color space all that you need to know is I'm not going to go for a mathematical explanation of what this could it is really mind numbing forfour four is the highest standard out there today commonly available that is what they use for motion pictures and frankly used for two two but you can use for for for it is the largest color space of the most amount of information it's the highest want is absolute overkill for what any of us are doing okay, very few things in the world can project for for for data for two to is is that is the target um and we'll talk about it again to post about pro s for two to four four four four two two h to lt proxy gibberish uh for your purposes they can produce between four to two and four tuo equality of compression for two always slightly less than what you really want don't forget that when you're watching this on a fifty foot screen again it's a big deal but most of us are watching our I fell for two is absolutely more than acceptable right? Uh aspect ratios if you really want to get my numbing marcus put this one in these are different aspect ratios so four by three is the aspect ratio of standard definition tv that's with versus height verses sixteen by nine which is the wide screen that we see on most tvs today or letterbox right what's letter boxing it's you know black above top bottom because you before three sides screen um so if someone walks up to you and says what's your aspect ratio you shouldn't one seven eight to one that's what they mean to fancy way of saying the same thing a one point five to one which is uh you'll notice that filming uh releases actually significantly lower if remember lawrence of arabia for example a really old movie that's fantastic that was one of the first really wide formats used uh that was absolutely fantastic. Um you hear about anamorphic um which is different type of lens and actually compresses the image to fit more frames on one piece of film um and um we did the nikon camera settings we've completed the technical stuff you've made it yeah, I do think that the hardest part of this three day workshop to get through because it's a bit mind numbing but you gotta know what for two, two four two of ten, eighty seven twenty eight twenty four frames sixty thirty france's second means it'll become a second language to you the funny part is when you talk about this technical stuff between a still photographer and a video professional have no idea what you're talking about so when you go in the video and someone tells you as a still photographer, why are you doing for two, two, four, two oh four, four, four you doing ten eighty you know our color spaces, different language, the ultimate they mean the exact same thing it's very interesting because they don't know what you know I see are two verses any efforts is a jpeg or sixteen sixteen we did we did the nikon settings we're going to finish with nocturne um what I will share with you about this film was that I got the one d mark four and I pointed it at night towards the ground in an unlit area which is black too my naked eye on the rear of the lcd I saw green leaves in detail in other words, the cannon one d mark four is the first camera I've ever used that allows you to see into the night and I cannot literally say it sees more than they could I see is a night that's pretty fascinating something every single filmmaker and and uh photographer has been waiting for a camera that can only capture what are I see it but sometimes more this short was shot in downtown los angeles over two nights uh with all available light and I like in reverie where I try to make it look pretty and go I went to times square where there was the most amount of light we actually sought out the worst light we confined in l a and that was the industrial district uh which has all sodium vapor and sodium mercury light which is that extremely puke it's yellow light the entire film was shot twenty, three hundred degrees kelvin which is severely blue and images were still yellow but keep in mind the purpose of this film is a proof of concept film to basically say can we shoot in the worst lighting made by man and can we get a way that this entire film was shot between thirty two hundred and sixty four hundred s o at half two or two point eight and uh check it up so no other guys didn't use a single artificial light no flashlights no iphones nothing just all available at night way may catch the word knocked on that that's uh stew mash wits contribution is one of one of my colleagues were three directors shooting this with david nelson over tonight you guys should check out stu's uh log pro lost dot com very fantastic log I read every day p r o l o s t dot com you'll notice the cameras within quite a bit more than in reverie way have tools to do it this way you see reflector on the girl's face actually use a reflector just to say we did it bouncing sodium vapor light back on their face wait for all the technical people out there who really want to see what thirty two hundred sixty hundred say looks like again go to the video page on search for vincent law ferree and you'll see this in high def and you can really judge for yourself what this looks like it's absolutely pretty amazing to me uh what these cameras can pull off it is ground breaking it is changing the way people think of film when you can shoot in available light at night in downtown los angeles, somebody you don't necessarily need to have trucks upon trucks of lights and generators and cabling. It really allows you to think about it. It doesn't make up for good lighting, no one's saying that natural light looks nearly as good as someone, something lit by a fantastic, deep here, gaffer. But it does allow you to consider shooting in it. Uh, you know, I've been doing this for twenty years, and I would. I went back to shoot some, uh, pick up stuff, and I start to freak out because I would see what I saw and no has way too dark to shoot in there, and I point the camera, go, oh, my god, it's, absolutely usable! So we've concluded this piece.