RAW :2K ,4K and Beyond
Raw :2K,4K and Beyond is a set of 2 courses designed to demystify the difference between RAW motion pictures and traditional HD acquisition, allowing the participant to make informed choices about when & whether to shoot RAW for future projects.
The 2 courses are
- RAW Camera Handling
- RAW Theory and Post
RAW camera handling is a 1 day course targeted at directors,DoP's and camera assistants who need to understand the nuances of working wih RAW cameras on set.
Ideally they would then follow on to the RAW Theory and Post course to understand how the files are processed and how their shooting decisions affect the post workflow and final image.
RAW Theory and Post is a 2 day course targeted at camera operators,directors ,producers ,DoP's and post production specialists who need to understand RAW workflow and who might need to create workflows for RAW projects.
Course outlines are shown below
RAW :2K ,4K and Beyond:RAW Camera Handling
Duration :1 Day (9.30 am to 5.30 pm)
S$650 before GST
WHO SHOULD ATTEND?
Directors, Directors of Photography, Camera Operators etc
This is a very is very hands on couirse and is conducted with the expectation that attendees are already experienced in shooting.
Introduction to various RAW cameras
- Blackmagic Design
- Other RAW cameras
On shoot considerations when shooting RAW
On set monitoring and preview
Shooting with post in mind
RAW :2K ,4K and Beyond:Theory and Post
2 Days (9.30 AM TO 5.30PM)
S$650 before GST
WHO SHOULD ATTEND?
Module 1: Producers, Directors, Editors, Post-Production staff, Visual Effects staff, Directors of Photography
Anyone who wants a quick but detailed overview of what makes RAW tick, with frank discussions of all its advantages & disadvantages.
Module 1: Working with RAW :Theory and Post
Explanation of how traditional HD acquisition is done via processing signals before recording
Why this processing can lead to potential loss in dynamic range, chroma information, etc.
How does shooting in RAW motion pictures differ? What is RAW, really?
Why are sensor sizes and resolutions changing rapidly?
Progressive shooting and rolling shutters
Is RAW shooting for every situation and everybody?
What is Log, and what does it do?
Screening of footage from various sources:
Why transcoding is sometimes necessary for Offline Editing
Brief comparison of how the various sources perform in an edit timeline
Each participant will colour grade the various sources themselves (with guidance) to understand their strengths & weaknesses
How much colour information is left, and how much can you manipulate it?
How RAW settings can be manipulated after the shoot – what can be saved, and what can't?
About the Instructors
Ian Wee Woon Hui has had a lifelong fascination with the moving image. From as young as 14 he was already experimenting with digital film making. He graduated with a Merit Diploma in Film, Sound & Video from the School of Film and Media Studies (Ngee Ann Polytechnic) .
He has directed documentaries for Discovery Channel,National Geographic ,Channel News Asia and Arts Central.
He was a first mover in the field of HD,directing one of the first multicamera HD shoots in Singapore for the F1 Powerboat Grad Prix is now a first mover in the field of Stereoscopic 3D film making. With the help of the Media Development Authority ,Ian attended specialised Stereoscopic 3D courses in Germany. This gave them an an opportunity to work with leading stereographers and stereoscopic 3D equipment manufacturers.
He has conducted courses in Stereoscpic 3D production,video editing ,HD technology and camera handling.
Ian also design's production and post production workflows,where his keen understanding of new and emerging broadcast technologies as well as his industry experience serve him well.
Lim Teck Siang has been active in the local film industry for several years, taking on a multitude of roles in pursuit of his passion for film. His early professional experience includes working on feature films such as Kelvin Tong’s 'Kidnapper', Royston Tan’s ‘Getai’ double-bill '881' and '12 Lotus', on top of numerous commercials, short films, and print advertisements.
At the 23rd Singapore International Film Festival in 2010, his camerawork for ‘Mu Dan' was awarded Best Cinematography (Short Film Category) at the Silver Screen Awards. 'Mu Dan' also garnered Best Performance. 'Promises In December', which won the Best Film and Best Director awards, was also lensed by Teck Siang.
He has worked with with a variety of formats including film,and the RED One and is an early adopter of the HDSLR. In 2012 with the help of the MDA Talend Development grant he attended the REDucation course in Hong Kong,making him one of the few RED Certified users in South East Asia.
He also conducts the very well received HDSLR Cinemaotgraphy course at AV8 Media
His showreel can be seen at http://framesinmotion.wordpress.com/showreel-2009/