Digital film cameras course July 2014

 

 

 

 

 

 

 

After the success of the previous dates we open a new call for our camera and advanced digital film operations course.

This course explains in depth everything about digital imaging from the camera’s point of view. A course that was pioneer in Spain and in which in each edition the latest equipment and digital cinema workflows are shown.

Here you can see the video of the last edition of the event.

TEACHER: Rafa Roche.

Rafa Roche, cinematographer specializing in digital cinema and stereoscopy is one of the leading figures in digital cinema in Spain. He is a member of the AEC and ACTV, Independent certified Expert of Sony and partner of Ars Stereoscopica. His more than 20 years of experience in the industry and the last 10 years working as a director of photography have led him to work in feature films, documentaries, television and advertising and to be one of the gurus of digital photography in Spain. Great communicator, he has developed his teaching skills in numerous centers and courses nationwide and through his own training project, Roche HD.

DURATION: 40 hours. 5 days

PRICE: 1.100€ (935€ for all reservations made before July 18th). You can get up to 20% discount if you sign up for several courses. Discounts are not cumulative.

WHEN: From July 21 to 25, 2014. Every day from 10 am to 2 pm and from 3:30 pm to 7:30 pm (times may vary slightly).

WHERE:Campus Audiovisual Ces. See in Google Maps If you need any kind of information you can contact 709 MR by email or phone (668826304). In the practices with cameras we will have lighting, air conditioning, measuring charts and all the necessary material to perform the practices and concentrate on the world of digital cameras.

COURSE CODE: CCD06-300614

AIMED AT: Directors of photography, camera operators, Data Management, DIT’s, post-producers, colorists, filmmakers and in general video and photography professionals who want to learn all the possibilities of digital video and film.

PREVIOUS KNOWLEDGE: Basic cinematographic knowledge.

CONTENTS:

VIDEO THEORY AND DIGITAL CAMERAS

Since the first courses we have taught, we have found a lack of “base” when dealing with the contents. This part of the courses is highly valued by the students since it establishes the theoretical knowledge about those terms that we may already know and even use in our daily work but we do not know exactly what they refer to or what consequences they have on the final image. As they are basic concepts, they are used throughout the course.

Read the evaluation of this module in past editions of the course.

DAY 1:

• Lenses: Review of the basic technical concepts of lenses, and the specific adjustments to be made on HDTV and Digital Cinema cameras. Description and commentary on existing 2/3″ and PL lenses. Lens correction memories and CAC chromatic aberration correction.

• Optical block: Internal filters: Infrared filter, Low pass filter, 1/4 wave plate, Color correction and ND filters. Problems and infrared contamination correction. Prism System: Description and characteristics. White and black shading adjustment. FB adjustment.

• CCDs and CMOS sensors: CCD types and operation, cameras with 3 CCDs. Single CCD cameras. CMOS sensors and operation, cameras with 3 CMOS. Single sensor cameras, Bayern Pattern and Demosaic and Raw processing.

• Video signal: Description of the video signal, parameters. Reading the signal on a Waveform monitor: Parade and Overlay mode. Signal interpretation

• Resolution: Resolution concept, current working resolutions: 720, 1080, 2K, 4K, 5K and 8K.

• Digitization: Sampling in 444, 422 and 420.

• Color. Color depth. Differences between 8, 10, 12, 14 and 16 bits. Color space: RGB, 709, DCI, ACES.

• Compression types: Intraframe or interframe. Compression ratio.

• Pixel ratio: square and non-square. Thin raster, full raster.

• Interlaced, progressive, PSF: Differences between capture and recording.

• Media and metadata: Distinction and use.

• Media types: magnetic, MXF, QT, AVI, frame sequences, RAW.

• Codec: Acquisition, work and mastering codecs with image comparison. Codec of cameras XDCAM, AVC INTRA, HDCAM SR, REDCODE… postproduction codec: Prores and Avid DNxHD. TIFF, TGA, CINEON, DPX, etc.

• International standards: ITU 709 and DCI

• Menu configuration: Menu system of digital processing cameras: Camera configuration, project settings, 2nd Operator configuration.

• Digital signal processing: Detail and sharpness correction circuits. Knee and W. Clip gamma correction, linear, pseudorhythmic and logarithmic ranges. System of work with logarithmic curves. Color space and matrix circuit.

• Raw: Way of working. Exposure. Demosaic or development of the Raw. Metadata and in-camera Raw corrections

• LUT’s: Definition of Look Up Table. Technical Lut’s. Monitor gamma or viewing Lut’s. Color Decision List. Export of CDL and Looks Files

• Cameras: Analysis of existing cameras on the market and workflows.

• External recorders: Analysis of existing external recorders on the market and workflows.

• Comparison of existing digital camerasfrom consumer, pro-sumer, broadcast, DSLR and digital cinema. Choice of shooting system according to the production.

• Current recording formats, support and needs on set and in postproduction.

• Media: Tape, solid-state memory, hard disk, optical disk, data tapes.

• HD digital connectors: HD SDI, dual link, Y Pr Pb, 3G HD SDI, HDMI, Firewire; and their differences

 

 

CAMERA OPERATIONS

During these days, the main mid and high-end cameras of the current professional panorama are studied in depth. The menus and recording peculiarities of each one are explained, as well as the shooting and postproduction workflows.

All practices will be tutored by Rafa Roche for the maximum use and comparison of the equipment.

Read the evaluation of this module in past editions of the course.

DAY 2: Camera menus, operation and equipment handling

Practical explanation of the composition of digital cinema camera equipment: camera body, optics, monitors, waveforms, etc.

Sony F3 or F5, examples of light shooting for documentary or low budget productions.

Description of the model and characteristics, explanation with simultaneous practices of the Digital Signal Processing circuit: detail correction circuits, gamma correction, linear, pseudorhythmic and logarithmic ranges. Look Up Table LUT and viewing LUT. System of work with logarithmic curves and LUTS. Color space and matrix circuit. External recording in 4:2:2 and 4:4:4:4 Slog.

On-set and on-location internships

DAY 3: Sony Digital and Raw workflow and processing:

Sony F65: description of the model and features, explanation with practices of the F65 workflow, F65 Raw and HDCAM SR codec, color spaces, mechanical and electronic shutter, menu system, recording and dumping. SR viewer and workflow.

Practice on set and on location.

DAY 4: Arri Alexa Digital Cinema System

Description and features of the existing models, Alexa, Alexa Plus, Alexa M and Alexa studio.Basic system features.

Practical explanation of the Arri Alexa menu system, recommended working configurations, Rec 709 and DCI linear curves. Log C, Prores and ARRIRAW workflow. Look files and applications for DIT.

Practical work on set and on location.

DAY 5: Network Camera Systems

Description and characteristics of the existing models, Red One, Scarlett and Epic.

Practical explanation of the EPIC, menu system and recommended settings. HDR, recording at 300fps. RAW exposure recommendations. Cine Network.

Practices on set (technical tests, chroma key and lighting control) and on location.

 

LIST OF CAMERA EQUIPMENT

• Sony F65 or Sony F55 camera
• Arri Alexa Camera
• Sony F3 or F5 camera
• Red Epic X 5k camera
• Red Bomb EVF Viewfinder
• Red Touch 5″ LCD monitor
• Redmote Remote
• DSMC grip
• Complete 19mm DSMC net support kit
• Support cameras: Canon 7D, GoPro, etc.
• IDX Endura HL9 Battery
• IDX VL-4S Battery Charger
• Sony SxS Pro 32GB card
• Matte box Arri MB19 2+1 filter 4×5.6″ + 4×4″
• Arri FF-4 follow focus control
• RedVolt Battery
• DSMC Travel Charger Red DSMC Travel Charger
• Redmag 128GB SSD
• Red Station Redmag 1.8″ SSD disk drive reader
• Matte box Arri MB19 2+1 filter 4×5.6″ + 4×4″
• Arri FF-4 follow focus control
• Set of 6 Arri/Zeiss Ultraprime T1.9 lenses
• (16, 24, 32, 32, 40, 50 and 85mm)
• Arri/Zeiss Ultraprime T1.9 16mm lens
• Arri/Zeiss Ultraprime T1.9 24mm Optics
• Arri/Zeiss Ultraprime T1.9 32mm lens
• Arri/Zeiss Ultraprime T1.9 40mm Optics
• Arri/Zeiss Ultraprime T1.9 50mm Optics
• Arri/Zeiss Ultraprime T1.9 85mm lens
• Chrosziel light cover ring 100-95mm
• TVLogic LVM-241W Monitor
• MFO HD multifunction Astro WM-3014
• MFO HD Astro WM-3015
• Tripod O’Connor Ulimate 2575C Mitchell
• Tripod Ronford base Mitchell
• Apple Imac 21
• Apple MacBook Pro 17″ with Blackmagic 3D UltraStudio
• Analysis and ingest software Scopebox, Avid MC, DaVinci Resolve…
• Various other camera systems pending confirmation of availability

The equipment used may vary slightly depending on the availability of the rental house, guaranteeing equipment similar or superior to those shown here.

You can see the updated list of camera equipment at this link.

Likewise, the course will have a variety of lighting equipment for use in the practices, complementing the camera equipment.

Camera equipment supplied by Sony, Canon, Ovide and Ceproma.

All course practices must be carried out by the students, who will be responsible for setting up and configuring the camera and lighting equipment under the supervision of the course instructor.

The student will be able to take all the material generated during the course on a personal hard disk.

You can download the documentation for the course here

For any further information please contact us at info@709mediaroom.com.