Canon 5D mk II and the argument behind the art

In this post I wanted to look back at the main choices we made about using the Canon 5D mk II for the film and ultimately why the camera was the best choice we made because of them.

In Sync: Camera and Operator

Pound for pound the best camera we could have used – Although still technically on Canon’s ‘older products’ the Canon 5D mk II is still rocking it out with the best. With high profile films like Iron Man, Hell and back again (as mentioned in the the film pitch) and The Avengers still being used to film segments of the film, it’s definitely good for micro budget films like this.  Rental is still fairly cheap at around £60 a day – good value for a camera which is used in films like the afore-mentioned. However, and these argument could go on for a while, it’s worth mentioning that for an extra £15 more we could be shooting in 2K thanks to the Black Magic Cinema Camera but that of course has all sorts of cons (and pros) to weigh up including power options, lenses and editing workflow.

Logistically the 5D has its benefits including its small, compact size which made it very versatile for international trips like this, the benefit too of some great lenses and kit adoptions we all ready have like the monitor (pictured below) glide track accessories (pictured below) and specialist rigs (again, pictured below) made this much easier for us to shoot with.

…Video on a DSLR?

‘You have insurance, right?’

Lets not forget also about the safety of the equipment on these international shoots, rocking up with a larger format camera could have had real implications including all the unneeded attention it would have drawn to us.

Thirdly and to an extent, fourthly, is the operators themselves, in which we only had one! Thankfully Rochielle, who had used the camera extensively before managed to get a really great style from the film and said style probably wouldn’t have been achieved if not without the right personnel to achieve that.

I think then, and now understand why, certain camera operators, directors and cinematographers are chosen over others. This film is a real case in point of a cinematographer with a style and I’m thankful to have such talent on the film. My bargaining chip with the film is that all expenses shall be paid by myself and that due to her demands, no other camera operators will be present or used on the film – and ultimately why no second camera is used or as it turns out would be needed regardless of the filming logistics of it all.

Sometimes then, you’ll get the luck to make these films and they will end up like they do because of it. Be it getting the camera on the cheap as we did or the right personnel on set to make the film –  this is sometimes how you learn and grow and develop both personally and professionally, maybe because of who you know rather than what you know. With all factors considered, I feel I’ve defiantly got the rub of the green here.

 

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