This workshop is focused on the tools, technology, and science at play in today's modern digital cinema cameras. Discussions will be in-depth with theory and part practical application to determine how to make the best images possible under the litany of demanding factors at play in production. This workshop is designed for DPs, DITs, ACs, post production professionals and anyone else looking to gain a detailed understanding of the current state of the art as it applies to digital cinema.

Through exploration of color science, the theory and reality of color will be extrapolated upon to make better informed decisions on set and in post production. We will explore in detail how color is created both in our eyes and in the digital world of sensors. Focusing on key aspects of color space, color gamut, sub sampling, bit depth, and understanding luminance students will be shown real world applications, all with an emphasis towards on-set production.

The use of waveforms and vector scopes on-set will be used to demonstrate the modern tools at the disposal of today’s cinematographers. By giving both a technical and practical knowledge of how to implement waveforms and vector scopes, students will be prepared when making critical decisions on exposure. Part of this process will also include live demonstrations of matching two different camera systems for color and exposure accuracy.

From small on-camera displays to large home theater systems, most monitors offer some form of calibration adjustment. As part of this workshop, demonstrations on the methods and tools used to calibrate a monitors will be explored. Attention will be given to white point adjustment, gamma, color & contrast adjustment, and the tools used to analyze a monitors key functions.

This workshop will also introduce students to benefits and challenges of Raw and Log recording and their practical applications. Students will be presented with the implications of shooting in different Log modes, the technical and aesthetic decisions that merit choosing certain workflows over others.

Attention will be given to on-set Look-Up-Table (LUT) creation, demonstrating the process for creating and applying a LUT on cameras including the Arri Alexa, Amira, Sony F55, Canon C500 and Red Epic Dragon. Specific focus on the application of these tools on set and through the post production process will leave students with a detailed understanding of LUT creation and color management.


Jeffrey Hagerman

Directors of Photography, 3-D / Stereoscopic Production in USA New York/New Jersey.
DP, camera operator, camera tech experienced with RED Epic 2d and 3d. DIT, color grading and 3D post production coordinator.
Credits: Democracy Now (TV), MTV, BET (DR).
Apply my knowledge and experience from working in the film and television industry on 
new projects that best utilize my skills,  to deliver quality content that reflects a clear vision.

“Million Dollar Arm " Craig Gillespie; Walt Disney Pictures; 1st Unit DIT, Multicam Arri Alexa

"Run All Night” Jaume Collet-Serra; Warner Bros. Pictures; 1st/2nd Unit VFX DIT // Codex Specialist; Multicam Arri Alexa

“Philomena” Stephen Frears; TWC/BBC Films International; 1st Unit US DIT On Set Colorist; Multicam Arri Alexa

“White House Down” Roland Emmerich; Sony Pictures; 1st Unit US DIT; Multicam Red Epic, Sony F65

“Jack Ryan Shadow Recruit” Kenneth Branagh; Paramount Pictures International; 1st Unit US DIT; Multicam Red Epic

“The We & The I” Michele Gondry; Partisan Entertainment; 1st Unit DIT/Workflow consultant; Multicam Red Epic

“Staten Island Summer” Rhys Thomas; 1st Unit Phantom Tech // Workflow consultant

“A Good Marriage” Peter Askin/Stephen King; 1st Unit DIT On Set Colorist, Multicam Arri Alexa

“Disconnect” Henry Alex Rubin; LD Ent; 1st Unit Phantom Tech / Red Tech

"Free the Nipple" Lina Esco; TWC; 1st Unit DIT On Set Colorist; Multicam Arri Alexa

“Monica Z” Per Fly/Film i Väst; 1st Unit US DIT On Set Colorist; Multicam Arri Alexa

“7 Songs for Amy” Konrad Begg; Bullet Pictures; Multicam Arri Alexa

MFA Emily Carr Creative Writing Program.
Graduated with honors from the Vancouver Film School.
BA in Business, University of Arizona
ProTools 210P Operator Level Certification from Digidesign
Apple Pro Certified
August 1998-2003: Apple Developer and Software
Specialist. Development credits include DP4, OS X 10.1, 10.2, and
iTunes. Comprehensive proficiency in:
Apple Final Cut Pro X, Studio
Apple DVD Studio Pro
Photoshop 6-CS3
Pro Tools LE & TMD
Avid Nitrous / Symphony
Apple Quicktime Streaming Server
Sorenson Broadcast
Advanced knowledge of the following CODEC’s:
HDCAM, Red ONE, 2k, 4k, DVCPRO HD, DV, DVCAM, DVCPRO HD, XDCAM, H.264, Digi Beta and Beta SP Formats.

Course Dates

Aug 23 to Aug 29




Class Size