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Daryn Okada, ASC Training Workshop
from Sony Professional USA PRO 2 weeks ago / via Dropbox Not Yet Rated
Daryn Okada, ASC training workshop covering many topics. Total running time is two hours and forty minutes. A glimpse of what is covered is below along with the corresponding timecode values. There is much more covered in the seminar so it is highly recommended to watch entirely. For a full production report from Daryn please visit issuu.com/sonyprofessional
Daryn is self-taught in the art of cinematography, beginning in his teens as a black-and white still photographer and Super 8 film hobbyist. He has served for 9 years on the Science and Technology Council of the Academy of Motion Pictures Arts and Sciences (AMPAS) and has served three terms as President of the American Society of Cinematographers (ASC).
Daryn recently served as the Director of Photography on Lets Be Cops, and Dolphin Tale 2. He has collaborated with director Mark Waters on several movies, beginning with the smash hit Mean Girls, starring Lindsay Lohan and Tina Fey. They went on to collaborate on the films Just Like Heaven, starring Reese Witherspoon and Mark Ruffalo, and Ghosts of Girlfriends Past, starring Matthew McConaughey and Jennifer Garner.
Daryn Okada's film credits also include Baby Mama, Harold & Kumar Escape from Guantanamo Bay, Stick It, American Reunion, Cradle 2 the Grave, Joe Somebody, Dr. Doolittle 2, Lake Placid, Halloween: H20, Anna Karenina, My Father the Hero, Captain Ron, Wild Hearts Cant Be Broken. Earlier in his career, he earned an American Society of Cinematographers (ASC) Award nomination for his work on the CBS mini-series In a Childs Name. Okada also lensed the pilots for the popular series Dawsons Creek, Switched at Birth and Wasteland.
Camera tests ..00;03;15;00
Dolphin Tale 2 and Lets Be Cops explained ...........00;14;25;00
Prepping, shooting Dolphin Tale 2 .........00;17;00;00
Importance of testing ....00;20;00;00
Lets Be Cops Camera Tests ... .......00;21;39;00
Hair and Makeup tests . .....00;23;00;00
On set dailies, workflow.... .......00;28;00;00
Lighting tests, lenses.. ..00;30;00;00
Footage of lighting tests explained ........ .00;45;00;00
Questions from audience .....00;48;30;00
Mechanical Shutter / Global Shutter ..........00;51;00;00
Shooting Log ...00;55;00;00
S-Log / SGamut ..00;57;00;00
Cranes and rigs and power. .....00;59;50;00
Underwater camera rig.. .......01;04;35;00
OSD colorfront ....01;06;30;00
Mounting cameras on cars .......01;09;40;00
Improv on Driving scenes .....01;15;00;00
Differences between F65, F55, F5 ..........01;27;30;00
Exposure testing . 01;36;00;00
Film labs and image quality . .....01;38;00;00
8 bit, 10 bit, 12 bit ...01;40;00;00
High Dynamic Range .01;42;00;00
ACES and HDR with Open EXR ......01;44;00;00
Exposure meters, tools and techniques ........................01;47;00;00
RAW Viewer . ...01;57;30;00
S-Log footage evaluation .. ....02:00:00:00
Importance of 16 bit for underwater ............02;06;45;00
ACES with 16 bit Linear RAW . .....02;08;25;00
Monitoring in 709 .....02;12;00;00
Having the 16 bit range for VFX. ..........02;12;20;00
Setting values for HDR ...02;17;00;00
The final color grade . ..02;20;00;00
ASC CDL in 9 numbers ..02;24;00;00
The best way to shoot ... .02;25;37;00
Filters in front of the lens .......02;27;30;00
Stops and how to apply . ....02;30;30;00
How to select a crash cam ....02;33;29;00
HDR and IMAX 02;34;40;00
Focus assist tools and the art of focusing .............02;37;15;00
How to work with high ISO
Written by Barry Braverman
RedShark News
Barry Braverman took the ISO 5000 Panasonic Varicam 35 out for a night shoot in Paris, an experience which has left him with some very definite opinions on the difficulties of shooting at high ISO.
Thirty years ago, it used to be that we needed a ton of light for minimum exposure and, indeed, to capture any image at all. In the 1970s, at the beginnings of my career, film stock was dog slow. The basic stock Ektachrome Commercial offered an impressive ISO 25 in tungsten light. Slap on a Wratten 85 for shooting in daylight and now we're really talking a whopping ISO 16 which, needless to say, can be highly challenging when shooting at night or in low light. So it was in nearly every instance we needed to add light and often a lot of it, simply to deliver an image with a more-or-less acceptable grey scale.
Zoom ahead a few decades to the present time. With the advent of ultra sensitive no-light cameras like the ISO 5000 Varicam 35, our lighting imperative has taken on a new and utterly unexpected dimension. As veteran shooters proficient in the craft, our mantra has always been to exclude from the frame as many unhelpful visual elements as possible. Have a distracting background element? Take it out. See an intruding object irrelevant to the story? Crop it out. Have an unclear center of interest? Remove focus, i.e. defocus, everything around it.
A Brave and Daunting New World
The fundamentals of good craft, of course, still apply in today's world, maybe now more than ever, as the exclusion of subtle, irrelevant story elements inside the frame requires extreme diligence and discipline. Shooting with the new Varicam 35 recently in Paris at night revealed ordinary streetlights that suddenly appeared too bright.
Shooting in Paris at night at ISO 5000, the normal brightness street lighting appears clipped and blown out, presenting a significant challenge to achieving proper balance in the scene.
The night sky over the city also appeared surprisingly overexposed, as well as the TV screens in a shop window that appeared unacceptably blown out.
Many us appreciate the high-performance and ISO 5000 sensitivity of the latest generation Varicam. We just never considered the relative brightness of certain light sources before inside the frame, like a TV screen, or the reflection in an actor's glasses. When shooting at a high ISO, we must be mindful that the light from whatever source, however weak it to the eye, is intended and helpful to the visual story.
Thus, the shooter's imperative to exclude requires a new, more disciplined perspective. The trivial kick of light off a talent's forehead or glasses, which may have gone previously unnoticed, must surely be excluded now by flagging, repositioning of the light or other means. The trivial bits of stray light are trivial no more.
Moderately sensitive cameras like the ARRI Alexa and Sony F55 have allowed us great freedom in our approach to grip and lighting. Compared to previous generation equipment, these camcorders with an ISO more or less of 800, allowed us to illuminate scenes for the first time with fewer, lower-wattage tungsten units, and cool-running, economical LEDs.
ND Matters
And what about now the not insignificant matter of neutral density? It used to that 0.3, 0.6, and 0.9 densities offered all the exposure control we needed. Today, shooting even with moderately sensitive camcorders, it's not unusual to employ 1.8 and 2.1 ND filters to achieve a reasonable stop and the desired, still-trendy shallow DOF. This requirement for increased-density ND filters can have a serious financial impact, as we typically require now the latest generation IR type filters compatible with single sensor cameras.
The sky above the illuminated city also posed an unexpected challenge. At ISO 5000, the sky proved a bit too bright and required a 0.3 ND soft grad to accommodate.
For many shooters, high ISO cameras like the Varicam are dramatically changing the rules of engagement. Lighting was always about excluding illumination not helpful to the visual story. We used cutters and cookies, dots and nets, negative fill and other strategies, to rigorously control where our lighting went and what it illuminated. Now that same control must be applied much more stringently by every shooter, as the ambient light from whatever source however weak, can contaminate the frame and upend the visual storytelling.
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