Posted by Video Tutorials

Daryn Okada, ASC training workshop covering many topics. Total running time is two hours and forty minutes. A glimpse of what is covered is below along with the corresponding timecode values. There is much more covered in the seminar so it is highly recommended to watch entirely. For a full production report from Daryn please visit http://issuu.com/sonyprofessional

Daryn is self-taught in the art of cinematography, beginning in his teens as a black-and white still photographer and Super 8 film hobbyist. He has served for 9 years on the Science and Technology Council of the Academy of Motion Pictures Arts and Sciences (AMPAS) and has served three terms as President of the American Society of Cinematographers (ASC).

Daryn recently served as the Director of Photography on “Let’s Be Cops,” and “Dolphin Tale 2.” He has collaborated with director Mark Waters on several movies, beginning with the smash hit “Mean Girls,” starring Lindsay Lohan and Tina Fey. They went on to collaborate on the films “Just Like Heaven,” starring Reese Witherspoon and Mark Ruffalo, and “Ghosts of Girlfriends Past,” starring Matthew McConaughey and Jennifer Garner.

Daryn Okada's film credits also include “Baby Mama,” “Harold & Kumar Escape from Guantanamo Bay,” “Stick It,” “American Reunion,” “Cradle 2 the Grave,” “Joe Somebody,” “Dr. Doolittle 2,” “Lake Placid,” “Halloween: H20,” “Anna Karenina,” “My Father the Hero,” “Captain Ron,” “Wild Hearts Can’t Be Broken.” Earlier in his career, he earned an American Society of Cinematographers (ASC) Award nomination for his work on the CBS mini-series “In a Child’s Name.” Okada also lensed the pilots for the popular series “Dawson’s Creek,” “Switched at Birth” and “Wasteland.”

• 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