DSLR Video workshop for the Sydney Morning Herald photographers
April and May workshops
For further details of what is covered please download the training schedule
July has been a busy time working with some of Australia's finest press photographers. Sydney and Melbourne based team have all take my advaced Stills to Motion courses.
The Sony PXW-X70 is a hit camera for documentary and corportate shooting. Shannon Anthoness of Little Dog Productions joins me for some One-on-One camera and lighting training in North Sydney.
Thanks to this great group of willing participants who joined me last weekend for a few days of shooting around the streets of North Sydney. It's a great location with its little lanes, old terrace houses and parks. We finished up the course with a lighting session at the ACS National HQ, North Sydney. The perfect place for our base camp.
Congratulations to everyone for making it one of the best.
I have just added a new article which may help you to choose a few lighting bits and pieces to add to you kit. Download it here
"Lighting is at the heart of all photography regardless of the format. It’s about using your camera to tell a story and the way that you, as the storyteller, use light to enhance that story.
Photographers and videographers alike observe natural light and the way it impacts on things. It could be harsh summer sunlight that casts strong overhead shadows, or a ray of warm late afternoon light that rakes across a room after a rain shower. Light, and the way it falls, sets a mood. One challenge for the videographer is to be able to observe these naturally occurring moods and recreate them with artificial lighting."
"The full day event captured the intended audiences attention for the whole time which isn't an easy task"
"I thought the workshop was great. It gave me the answers I was looking for and much more"
I'd happily recommend this to anyone just starting or wanting to expand their knowledge of using DSLR's and film production"
"Great venue, great speakers - fantastic day!"
As a guest speaker at the Exposed Down Under conference held this year in Melbourne, I found lots of guys, largely wedding cinematographers keen for lighting tips.
From co-presenter Nick Rains:
Piet de Vries and I did our first Canon video workshop last Tuesday to a full room in the Sydney Masonic Conference Centre on Goulburn Street. We have already had some excellent feedback so it seems we delivered the goods. It's always tricky to know at which level to pitch these sorts of talks so Piet and I decided to assume everyone came from a stills background and set our level accordingly.
I covered the technical stuff (as is my usual style!) and Piet explained the very different thought processes necessary to shoot compelling video - and showed a video of a wedding shot by a collegue that blew everyone away with it's sophisticated editing and shooting style. It was both intimidating and inspiring at the same time.
We still have places for the other four venues, coming up next week and the week after, if you want to find out more about shooting video with your DSLR.
The newest camera on Sony's block has been in my hands and on my tripod for a few weeks. Here are some comments.
The first thing that I noticed was that the camera was familiar and after turning it on I understood why. The menu layout is similar to the Sony PMW-EX1 and the EX3. You’d swear that you were looking at those menus and this makes things easy as I’m on familiar ground. Already I'm sensing that this is a "Just Get Out and Do It" kind of camera.
There is abundant information online detailing the technical specs of the camera, however I’m more intrigued by its potential in a range of productions and the possibilities it creates to take my corporate and doco work into a new realm.
Sony suggests that the PMW-F3 is suited to television, commercials, music and promotional budget productions however, based on my two weeks of toying around, I see much more in store.
Let's get the specs out of the way.
Before making any consideration of this native spec, look at the images that come from the camera. They have a earthy, organic feel and I would be happy shooting straight to the SxS cards for most of the time, but this camera is up-scalable.
I would consider stepping up to the 4’s and 2’s, recording at 4:2:2 at up to 280Mb/sec using the compact nanoFlash external recorder. The front end of the F3 has the Super 35mm CMOS imager and some excellent lenses all held by a solid PL lens mount and you can’t help but notice this quality in the final production.
The PL-mount of the PMW-F3 can both take PL and zoom lenses and is compatible with a variety of cine lenses such as Cooke, Arri, Fujinon and Zeiss.
Most cinematographers will appreciate that this camera creates a very new and special category, so when would I shoot with it and what is it actually like to use?
Getting some basic video camera skills was part of the five day course for a group of students of the APM School of Business & Communication at the Australian Film Television and Radio School this week. I've been working with the schools's Open Program.
Justin Murphy "Collectors" ABC Television Hobart