The Master Course is not a general course in film production, but a master class in the single -- and crucial -- discipline of camera work.Film school provides a general education in a production environment, and the course does not aim or claim to do that.The decision-making process for excellent camera work is exactly the same whether you're framing a Panavision camera, or a 3D camera in software.
In an e-mail discussion, Per expands on how the DVD course came about.
“I had learned from my previous career that it was creatively limiting to not have an exceptional skill set (I was a very good producer and songwriter towards the end, but a so-so musician), so I decided to train myself all over again as a director.
My main point was that I wanted directing to be a language I could speak eloquently, and convinced that there is such a language, I spent the better part of the next 5 years mapping it out.
This involved first of all shooting 6-7 short films to train, reverse engineering hundreds of movies etc.
One of the major goals of the course is for great blocking to become so automatic that we don't have to sacrifice one over the other.
Yes, blocking literally has nothing to do with which medium you're working in.
He thought that this was a tool that everyone could use, and after a year of animation and editing, it became The Master Course, the first Hollywood Camera Work course. Since then, Per's methods have become the de-facto industry standard, utilized by filmmakers at all levels, from beginners to dozens of Academy Award and Emmy winners.
Per has additionally taught Directing seminars around the world, including at Disney, Industrial Light & Magic, and at Weta Digital for the Hobbit animators and VFX crews, the only outside training they've ever brought in.
Doing camera work in 3D is a novel approach that enables us to discuss advanced techniques quickly and easily.
Storyboards also preclude the use of a lot of techniques simply because they can't be drawn, which is never a problem in 3D.