Tertiary Catalogue

In photography everything depends on that single image, however in film no single image stands on its own. In filmmaking everything we see on screen is a sequence, and understanding how we construct them is essential to filmmaking. In this episode Philip explores how to plan out sequential stories. We discuss how the unique art and psychology of filmmaking can be seen, mastered and broken including the all-important 180-degree rule. Learn how editing starts before we even begin filming and follow Philip to see his process as he creates various sequences. Show Less

The biggest difference between photography and film is movement. It's not just how we move but why. In this lesson Philip explains the reasoning behind movement in filmmaking. We will look at the different styles of movement, from basic handheld to gimbals, as well as movement within the frame. We'll then look at how lens choice mixed with angle and composition affects what we see on camera and our sense of movement. We will also look at different framing choices and how the 180-degree rule informs the entering and leaving of the frame. Finally we will follow Philip as he plans to block out a large one-shot moving sequence. Show Less

In this episode Philip explores light and the different approach you require for filmmaking. We'll look at filming exteriors, how we're affected by factors like the time of day or year, the weather, the location, and how the movement of that great keylight in the sky, the sun, affects our choices. Then we continue to look at interiors and explore how to craft the scene and mood of an environment to becomes a character of its own in your film. We'll look at common lighting styles both photographic and cinematic, how to practice with them and see how they're used to communicate beyond just what we see. Finally Philip guides us through lighting people, and the particular challenge when we introduce movement. Show Less

In this first episode, Philip shows you what you will need to turn your stills camera into a filmmaking machine and get the most out of it. Then we look at the first major difference between stills and film (and something that is equally important as the image!), the addition of sound. Philip gives us an in-depth look at the various types of microphones and recorders, and demystifies polar patterns to help you get the best sound possible in any type of location. We finish by looking at the art of foley. Show Less

It's stories that make us watch films, without them our attention span is very limited. As a species we communicate through stories and have passed down our history and lessons for millenia. In this modern age where we have so much content around us the story is even more important, as a good story will make your work stand out in a sea of noise. In the past four episodes we have looked at all the key elements that differentiate photography from filmmaking. In this episode Philip puts it all into practice in real world situations, showing how he ties all the previous lessons together to make both a promotional video for private accommodation and then a commercial piece for a restaurant. Show Less

One of the biggest differences between photography and video is the amount of time you spend in post production. Editing video can be very time-intensive, even for experienced filmmakers. In this episode Philip takes us through key post steps such such as preparing and organising your footage, pacing and timing in editing, and working with audio, music and color, as well as general tips and tricks to get the best possible results. Show Less

Continuity is the unsung hero in colour grading, and an often overlooked part of the process. In this lesson, Ollie takes on the challenge of matching Canon and Sony cameras on a multicam shoot, using an X-Rite Colour Checker Video chart. He then breaks down his workflow for creating visual harmony across a sequence of shots in a short film, while discussing stills, image wipes, and split screens along the way. Show Less

In the first episode, Ollie shows us why setting up an environment where your eyes and monitors can be trusted is of vital importance. as well as seeing how professional suits are configured, thanks to a rare interview with CHEAT lead colourist, Toby Tomkins, Ollie also gives practical tips on how to create a home suite on a budget and how to calibrate your own monitors. He finishes up with advice on working with clients in the room, and how to decode emotive keywords that clients might use to describe the look they are after. Show Less

In the final episode, Ollie teams up with internationally renowned filmmaker, Philip Bloom, to look at the future of film production and delivery—HDR. Starting off in Philip's hometown of Richmond, the pair shoot ProRes RAW and Canon Raw Light during golden hour, while discussing the dos and don'ts of recording for HDR delivery. Ollie then heads back to the grading suite to show Philip what his work looks like on a 1000 nit HDR monitor, and how to set up, grade, and deliver HDR video. Ollie also talks about raw workflow and how working in raw can benefit your clients, even if you are only delivering HD SDR. Show Less

In this episode, Ollie tackles to distinct areas of the look of film—texture and colour. What can you do with stock effects? What can be achieved with dedicated tools like FilmConvert? Ollie uses the latest music video from acclaimed celluloid DP, Jamie Harding, to show how he matches footage from the Arri Alexa and Arri SR2. He also gives a demonstration of how he dresses film halation, using simple techniques in DaVinci Resolve. Show Less

Here, Ollie breaks down the differences between contrast, tonality, dynamic range, and luminance perception. He also teaches us the fundamentals of reading histograms and waveform monitors, to help avoid clipping and crushing when using lift, gamma, and gain controls. To help illustrate these topics, Ollie uses a broadcast commercial for a sofa company, where contrast is used to make the product stand out against its surroundings. Show Less

In this episode, Ollie discusses the basic concepts of the additive colour model and how we can use this knowledge to counteract colour casts in our images. Along the way, we learn how to use the Parade, Vectorscope, RGB Overlay Waveform Monitor, and RGB picker. We also from acclaimed cinematographer Brett Danton, as he discusses how important accurate colours are to him and his clients. Show Less

With the fundamentals of primary grading dealt with, Ollie turns his attention to one of the most important parts of colours grading—skin tones. What are memory colours? Is there such a thing as the perfect skin tone? How do we make faces look realistic, yet cinematic at the same time? All these questions are answered by Ollie in this episode, with valuable contributions made along the way by Academy award winning make up artist, Peter Swords King. Show Less

Ollie starts here with a discussion about the differences between technical and creative LUTs. Ollie talks about the importance of owning your own images and gives tips on how to develop your own looks using curves and qualifiers, the differences between monochrome and desaturated looks and how to use split screens and versions in DaVinci Resolve to audition looks quickly. Show Less

In the final episode of the series Ollie delves into the most exciting part of colour grading - conveying mood and eliciting emotion with colour. He shows us how this is used so effectively in ‘Whiplash’, where colour becomes a signifier to the emotional journey of the film’s protagonist. Show Less

With everything now set to record, Ollie focuses on how simple colour and contrast management in production can maximise the quality of your digital negative. From using probes to ensure camera monitors are calibrated, to using charts to ensure white balance and contrast are consistent across all cameras; Ollie shows us his top tips for in-camera colour management. Show Less

As we continue looking at post-production, Ollie shows how hue and saturation can be used to direct the viewer's eye in the frame. Using examples from ‘Blade Runner 2049’, Ollie demonstrates how this technique can be used most effectively in your films. Show Less

In this video, Ollie takes us through the process of building custom LUTs on set for monitoring. He shows how simple steps before rolling the camera can ensure everyone on set is connected with the image and able to see how the film’s look is developing in every frame. Show Less

In the first episode of the series, Ollie introduces us to the concept of “Directing Colour” as he begins to produce a commercial for a boutique catering company. He takes us through the process of how he developed a colour palette for their brand which will be woven into the production design for the commercial, and explains how the relationships between colours can create compositional balance in your images. Show Less

Matthew Allard begins by introducing the Canon C200, explaining its key features and capabilities. We Look at what is included with the camera as well as what you'll need to add to get up and running, before finishing with a comparison to both the less expensive C100 Mk II and the more expensive C300 Mk II. Show Less