July 9, 2015

Master Sony's Cinema Cameras in This Workshop with ASC Cinematographer Daryn Okada

Since the mid 80s, Daryn Okada has shot a little bit of everything. From dramatic features to television pilots, and more comedies than you could count, Okada has seen and done it all. In an excellent (and insanely in-depth) workshop posted earlier in the week by Sony Professional USA, Okada details his journey from film to digital, and then shares a great deal of knowledge about how he has been utilizing digital technology for the past few years, particularly in regards to Sony's high-end digital cinema cameras. Check it out:

The whole workshop is crazy long, but luckily, it's embedded with timecode, so you can jump around to any specific topics that interest you. Here's what Okada covers throughout the workshop:

•    Camera tests………………………………………………..00;03;15;00
•    Dolphin Tale 2 and Let’s Be Cops explained……...........00;14;25;00
•    Prepping, shooting Dolphin Tale 2………………….........00;17;00;00
•    Importance of testing……………………………………....00;20;00;00
•    Let’s 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     

Your Comment

8 Comments

One of the few times I wished for the Youtube 2x speed options lol. Decent info here nonetheless

July 9, 2015 at 4:04PM, Edited July 9, 4:04PM

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Charles C.
Editor/ Director/ Director of Photography/ Wannabe Thinker
1110

An invaluable wealth of information there.
Much thanks to Okada for providing it.

Can't wait for all the "too bad Sony's color sucks" comments.
Just graded some Slog footage from the F3 in Resolve and was blown away by the gorgeous colors.
Skin included.

July 10, 2015 at 12:20AM, Edited July 10, 12:20AM

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Richard Krall
richardkrall.com
1492

I'll admit I'm one of those dislike Sony's color science and video look people lol. I still think theres truth to it though. Still a good image but definitely look at other options first.

July 11, 2015 at 1:14PM

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Charles C.
Editor/ Director/ Director of Photography/ Wannabe Thinker
1110

you must be missing the point of doing 16bit linear, you have the info from the sensor, use whatever lut you want to create, or you can even use the 709 type A (the A stand for Alexa) if that's the sort of standard you like.

July 13, 2015 at 12:00AM

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RAW even in 16bit colour space manipulation still won't change the native colours of the sensor. Every sensor is different and reacts to light based on the whatever native parameters are set (for instance, Canon RAW or compressed are more red-biased for skin than say Blackmagic's sensors).

Yes, you have to adjust and grade, but the native colour is still the native colour of the sensor. Working within a larger colour space doesn't change that, it just makes it a stronger canvas to manipulate within.

July 15, 2015 at 12:42PM

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I'm trying to get a good grasp on the FS7 and will start shooting custom soon. Even though he doesn't talk about the FS7, there is still a lot of similar info that is helpful. Has anyone had issues with the FS7 colors and noise? I'm getting a heavy tint/vibrance of green after applying 709. Been shooting in SLog3 CineEI XAVC.

July 10, 2015 at 8:37AM

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There's an excellent Vimeo masterclass on the FS7. It cost $80 but seems worth it. You can check the chapter content to see if it will be helpful or not. It helped me setup my custom scenes for when I use that camera. I shot a ton of content for a client who didn't want grading so I had to figure out how to use most of those setting I usually ignore.

https://vimeo.com/ondemand/fs7?gclid=CKas047i0MYCFQiEaQodMzcIqw

July 10, 2015 at 10:34AM

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Josh Paul
Most often DP, Direct or Gaff
1280

If the FS7 has the same sensor as the F5 (evidently, it does), Slog 3 raises shadow levels and seeing grain in those areas is the result. Slog 3 doesn't make the sensor any noisier than Slog 2 or any other profile. It's just that it is more visible with Slog 3. Supposedly, 3 is the way to go these days but, I still use Slog2 as I prefer its' shadow and highlight placement. And it hides the grain (that's always there) better.

July 11, 2015 at 1:11AM

6
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Richard Krall
richardkrall.com
1492