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We're also ask you a quick question because from tone are so do you experience more banding after greeting with sinise style versus neutral? No, there they're almost the same. The city style pretty much just drops the saturation, but they're pretty much almost identical and load in the way that they were just a little less saturated. And when you go through grating it's just a lot easier to deal with way obviously the amount of material we've shot on house, we have had banding problems sometimes and, you know the worst of the worst situations away your photographing very large areas of very slightly graduation sort of areas, for example, this guy that goes very smoothly from, say, a very pale blue to a dark and blew over a very large area on them, and I think the blue channel is the weakest channel in when I say a week is that into what that means? Exactly, but my am special effects and gordon age on our said that, you know, the blue channel is where you're most prone to get banding, w...

hy that is I've got no idea it's why on a lot of digital cameras, they recommend shooting green screen as opposed to blue screen because it's more responsive to green and again, steve might have the answer to that, and I just do what I'm told but, um there's a there's a good tip you could really help if you do run into banding if you apply on film grain which we we used to do all the time anyway because we were shooting because we're shooting on on kodak film stock and then using our five days on a separate entry cameras too did you like car interiors and inserts like I was doing that wade always had film grain to make it look on more similar because you see film grain on film and you don't see film grain on digital I mean it sort of has a similar appearance but if you add film grade it can tend to make banding your way to a very large extent and I think you could do that in them you can do it really anything you could do it in a primary conduit final that just like, you know, affects programs do it better like you know music and all that stuff and just depends on what you work on which a workflow is right then there was that holding unit b and you knew some cameras that better than others with this I also think we you know steve was saying twelve fifties about a zara's you should think about going and even then it's should have on the edge you know, the one way just getting come to that well that's that's that's the I don't I don't have the tests for the one be right but the one d you can actually push it to about thirty, two hundred because it's got multiple processes and and then the way that it reads information it leads it three times as fast is the five b does so it can it can get the information straight off the chips so it doesn't sit there so and uh the five are the the one demarche to there's a couple cool things about it I mean, you get a full seven twenty signal out of it and like he said the focus is really tricky so when you're trying to focus on a marshal monitor on a standard def connection you're like you could never really see if it's focused you're like I mean, some of the times when I'm like resort to shooting I usually use this acute as you find there sometimes and I'm just like just because it's it's a higher resolution or I'll turn the lens often focus through the viewfinder justcause like then you know it sharp but like it just it becomes a nightmare focusing with five d sometimes, especially if you were shooting one tio just like uh you're looking at the little dials and you're like, ok, we'll just two three feet to infinity and we'll call it that but if you're shooting at one t that's never gonna happen so you actually get a full seven twenty six out of the mark for and it actually helps drastically it makes it so much sharper it's ah it's a more durable camera it's pretty much weather steel to goto africa and the left flood season it's a lot heavier it costs a lot more probably twice the amount it's got two cars lots and so you can carry double the memory so I mean when you're on location the battery last two or three times longer than five d battery so I mean you got some advantages but the disadvantages is it's thirty percent smaller the chip size that if I'd be so you get you get a one point three crop factor which isn't so bad I mean you can deal with it by telling in and out and you know, it's it's got a couple of nifty you know, white balance ships and all that stuff's actually has buttons on it you don't have to have to get into the menu they're actually right there on the back of the camera instead of going through and doing all that stuff so it's some of the things they're a little bit more accessible but I mean all in all it kind of just comes down tto how much money you have them what you're looking to shoot I mean if you are going to africa probably get one of those but I mean if you're kind of hanging out here I was just coming to get what you can afford so I she was fighting heard the five teamwork three is going to be pretty awesome uh that's what we all hear way we're pretty tied to cannon and like we haven't heard anything then they didn't give anything away I mean, you know, the river there are so many people out there that saying there's this coming out and then you two years later it finally arrives and can't cannon or a company that is so fixed in terms of bella nancy cameron the next it will be on the shelf sammy's or be in a jewel wherever another they never leak rumors or anything there room they keep everything very tight to them so whether there even will be m you know, a five d mark three is even a question on the meeting because I haven't heard anything and I know all the guys that cannon and I was and maybe do working for them and, you know, you know, less mess mince news wass yeah, I think they are working on something just kids like a couple of the case manufacturers are working on a new candid camera yeah, they they're all certainly working on stuff because they, you know, they were basically got with their ben's down when they came out with all this video capture stuff, they didn't realize that anybody would use it filmmaking they thought it was just going to be used to capture webb stop from the seventies you mean people shooting with him a name that we should make him films for that we actually emerged the two divisions in the video and the dslr there are one now so they kind of just started like working together yeah so I mean they're going to announce something probably info takina so but it it might be the one d s mark for because they've needed a pro camera for so long I mean the one d s mark three is years old now and it's just kind of so behind the curve it doesn't even stand up to the five d mark to anymore I mean, why would you buy a one d s porn for our on mark three when you could have if I'd be for less than half of it and it's a newer chip so if you need to the body again it's it's more of a durable what their sale body so but you're probably announce something that fokina I don't know if it's going to be the big brother a thousand dollar one or the mark mark three, but he probably won't see the mark three for middle of like two thousand twelve so but again like they tell us nothing you know what I wanna be tomorrow one of the things that has happened is several manufacturers of started coming out with them camcorders that have much bigger sensors because they suddenly realize that well and now they actually use the phrase shallow depth of field you know is a kind of well you know they never even thought of it is really you know order that's changed it's all changed because of the hd dslr revolution basically there's a couple of really nice I mean that panasonic able if one hundred about five grand which is slightly more than the five year mark too I mean it's it's pretty decent but then sony just came out with their new f three and that things beautiful it's amazing but it's sixteen thousand dollars and then the firmware upgrades another three thousand dollars third and then they take people mount lenses so we're up to ten thousand and then all the fire store cards recording four four four un compressed what you need a terabyte fire like fire store to do it yeah, you might as well be shooting a full production at that time but on the other hand what I think what's interesting about it is the we have three for example compares to thirty five which cost me a fortune brackets that's what they shoot tv shows with it s so things are changing in a really radical way and so basically, the cost of cameras that can capture high enough quality, really, to put on the big screen are kind of just around the corner I when we when we did this season finale of house on dh, we were invited to go and talk about it at the d a, the directors guild of america, great containers, that director of myself, I was absolutely petrified because they put us in theater one, which has got a seventy foot screen, they projected several sequences, and I was actually blown away at the quality, and I wouldn't have any qualms whatsoever to shoot certain types of movie on a five d or a seventy or one b mark before, I think they're going to shoot a landscape picture, like dances with wars would be committing suicide because you can't expect it to have the definition that makes those beautiful, big, wide panoramic jocks understand up, but if you're making, you know, a drama or a comedy, or on, do you want to make it on a low budget there's absolutely no reason why you can't do it now. And, um, phantom website I mentioned them third reel that really you you see some amazing stuff on there that shot up five these that's, um, is beautiful, and, you know, just but it requires a sentiment of cleverness in terms ofthe the kinds of shots you work with, how you compose them, but it is there and, you know, the real limitations, it's just a matter of avoiding that, the bit voles that make this all possible, it is changing enormously, and we're just seeing the beginnings of this, but, I mean, what is so great is that anybody that really wants to make a film really doesn't have an excuse anymore. Um, it's all then it really is legit, I think. It's I think it's care now? Yeah, I think we're getting too. We should take a break, I think. Actually, you probably I'm sure there's something must have a question. One of two people having much around the world. I don't know if we're going to get into shutter speed that later, but I can and I are both kind of learning do filmmaking and I'm on the five d and one of the previous students from one of our previous workshops had taught us that we should always be shooting at one fiftieth. Yeah, because that's closest to twenty four frames per second. Uh, you want to pose this to this? Two forty eight, four years. What you have to shoot, can you talk a little bit about that talked about? I think it gives you the most cinematic gundam look because you know so much of what we expect to see when you see a movie in things is the way in which we've been brought up and then, you know, most of us here have been brought up going to the movies and music movies on tv and things like that on dh um, I'm the amount of emotion blair is really what it's all about, you know? And it was just because, you know, they had butterfly shatters your movie cameras so well, the chateau was across the lens and covering the lens up was when the film was advanced in the next rain, and that was exactly if you're shooting normally, it was a one, eighty degree shutter, so therefore twenty four frames off the time was, you know, that would be your status meat, so that would be a forty eight of a second so it's on the amount of motion blur you get by doing that is something that we're very used to seeing and what we've seen broads up to see and it's really, really funny because in japan they shoot everything at thirty frames because they like that look to be a looks more elektronik, it's certainly sharper because the frames air going faster, so you have less motion blur on the arrangement it's just the japanese taste they prefer firm did you do that? Frames? And that way we don't, because we're you have been brought up in north america or in europe when twenty four or twenty five frames on tv in europe is more the norm on dh, you know, so it's to do with those sorts of bringing exceptions you have from what we're used to looking at it's interesting because I've heard of quite a few dps that huge on things like a thirty of the second, but to me, all that would do would be to give you a little bit more light. If you needed it, it would give you certainly more motion blur, and sometimes you have to switch the shutter, too, because if you're shooting under fluorescents and you don't have a cigarette studio frequency, you'll get those black bars, so if you go down to a thirtieth there up to a sixtieth, it'll eliminate that frequency codes that you become in sync with the sixteenth of a second cycles of you know them if you don't always have to keep it at one fiftieth. It's not something you just said it, too, and keep it there no, I mean, as stephen was saying, and you know, if you were shooting, if you enforce issued in a supermarket, say, and you you notice these sort of very boards and darkish bands that move up the image that's when you would be obliged to change to either shooting at a thirtieth of a second or a sixtieth to eliminate that and the difference between fifty and sixty of his pretty negligible so probably most people wouldn't notice so there are there are times when you want to change it it would actually be interesting to see if any if any muse that there have any comment on that because you know there's a me so much that I've tested and I know some people shoot on a thirty year than on the shutter speeds and that might be valid reasons for it that I don't know about you know way stephen have you you got to shoot on the stock form where reviews like actor alternative farmers like magic lantern to get like zebras and monitors and stuff because we're authorized by cannon uh like we're not really allowed to kiss you when you open up the firm one of the camera and you put after market in it avoids the warranty immediately uh so and uh I've seen a couple of those go down to where they overheat and they just yet they're not I don't know I just I've played with him but they were just not fluent enough like they're really glitchy and they just don't work as well and we have the monitors so like it's just really easy to shoot on the monitors but the magic lantern does work pretty cool like I do like the in camera peeking and like zebra and all that stuff in the false color but it's just it's not quite as consistent that needs to be a but it's also free yeah so I mean I mean they'd be cool if they tried to work with cannon until I kind of promoted and like actually put it into it but like I think we'll start seeing at like the least we'll see features like that in the camera in the next campaign just because like I mean with like zebra and like all the highlight and all that stuff like those air like huge things especially for hopefully we'll get a full red signal boat you know, if we don't at least peaking in the in camera but yeah, we don't really use the magic lantern stuff just cause uh was responds by gannon and they get mad if we melted all their cameras yeah there's a couple guys that came in though it it looks really cool yeah it's got a whole different menu it just doesn't work as fluid is like you would want it to like because the candidate is so responsive but sometimes it'll stick on some stuff and you're like yeah, yeah I've heard it's buggy, right? Yeah, I never do that way lots of questions have a question from jordan thompson as well as a lot of people have asked this how do you address the more a pattern problems using the fighting and such I tend to avoid it in or it begins, which is obviously a mortar make right warner of choices I didn't particularly think that the hdgs allows do my reign much worse than any camcorders in the past I mean get cameras such as the a's h e x two hundred m so I you know, I think it's a man from doing tests a cz much as you can I was I believe in testing is money it's possible? I mean, for example on house I test a cz much site and every piece of order of there's likely to beer in front ofthe camera sometimes we don't have a johns but it's not a big issue I mean things like rolling thunder is a much bigger issue the mar a you know and then demanded that person if they wanted to come back later and explain why they're having seventy more a pat is maybe somebody had mentioned about brick asked about moray on brick specifically just just a brick wall or people in front of the black wall like because I mean, if you're shooting like a pattern, I mean, I mean you're gonna get some crazy banding and moray and like all that stuff I mean, I suppose a huge break wall it's a distance has that potential, but if it's just a brick wall, you could just blurt out a little bit. Yeah, thank clean. And then you'll get rid of it. Yeah, it's just slightly out of focus and it'll go away. In other words, then maybe the solution I mean, two views an nd villager and, you know, sort of open up the aperture, make sure that slightly soft because then it would go acres when we have had worry in on harris and it happens occasionally you get it on, you know, the grill of the grill of a car that's just slightly twisted. You know, you've got all this groans drives. It is just a match of the vocal. We put a window on it, just slightly d focus it imposed and it goes away windows for everything. Wait, you know, I mean the cost of television production time as I mentioned this kind of like so huge on dh I do have my work is a dp impose because it's, much more efficient for me do spend five minutes with the talent timer and do a couple of things that interiors too made make him two hundred people wait for five minutes while I said some flags to control a bright wallets distracting all something like that where is it is just a sort of five minutes job in post its you know economics and you know I think a lot of tv tv and dps worked like that you know so often there are things in what we call dailies when I see what we shot the previous day that disappoint me but I know that I couldn't get hold of it great divide later it's it's much more efficient it's like him still is for dog but just noting will and I can take that image and I can do some amazing thing with that info to shop you know as long as you have the vision to know what you can do that's fine you know it's often a better way of doing it you know, maybe waging for three hours for the light to come around the corner of a mountain just to give you a bit more illumination might actually do something that you didn't want it to do instead it might be just better to do that imposed because the visions a combination of what's in your head and what's actually in front of you you know gil, can we just talk? Just chuck's in the chat had asked if you could just speak a little bit more to the problem of the ruling shutter with dea solares um get me knives be I'm personally trying to talk myself into liking it it's funny that you can you can take a lot of things and things that on the face of it appeared to be disadvantageous or ugly and actually make use off the one thing I'm dying to try and do is too to do a shot where I move the camera like crazy on a on a person's face and then try and stabilize the frame later because what that would do would be to distort their face and it could be fantastic in a nightmare scene so that would be an example of taking something that's effectively a fault with the camera or a problem in the camera and turning it too good event and I think you it's interesting I think it's good to avoid aimless panning shots that's the first thing that don't either go with something if you I mean you know sort of just said a panning across bear space you're inviting trouble and so you tend to avoid those kinds of shots if you want to move one acted to another use the movement over another acted to take you there or set up your senate scenario so that the camera could tranq around on hold one acted to bring the other actor and frame rather than just doing a straight ban because straight straight pans across on dh what I call no man's land and boring shots anyway and so you know I love things like sliders and little tracks and things like that so you can move from one actor passed him to reveal another all beyond an actor and come back and include inactive defined him and so just think about your transitions differently again it's a weakness but in fact him every single digital motion capture device has a rolling shattered problem to a certain extent and it on even on the electorate is there it's not a severe is on the five b obviously it's five visa do you know have thousand dollar camera so that's what I can say is work out your transitions that avoid panning sometimes you can I mean if you if you've got two shots on somebody into railway station on the trains coming in behind them the windows of forty five degrees and just that's a pretty cool train with forty five degree windows as far as I'm concerned if anyone is noticing that's it then you've lost them in the story you know just get closer or avoid it keeping out of focus and make it less in border so note to self no panning b roll shots yet but it's you know you could work around it you know we when we did on the season finale we just tended to work around all those problems and andi it wasn't really an issue I mean we didn't it didn't have the story there's so many ways to skin a cat you know