This was just one of the stops on our northern california road trip , shooting for a couple of Inns and a larger resort. We only had about one day for this shoot. It was intened to just give a feel for the gardens at this beautiful Inn, in Monterey, CA.
Follow me on my new facebook page.
Push the “like” tab . I seem to be using the new facebook page more than this blog as you’ll see.
I still plan on posting here as well for now. It seems a little redundant to me really, but it seems we need to stay current on as many social media sites as possible. I’m try’n peeps!
On this blog, I’ve written many times about the explosion of use for the DSLR cameras ( Canon 5d Mk11) being used for high end productions. From such shows as Saturday Night Live, House and numorous commercials, this trend has been growing rapidly.
At the forefront of this explosion is Shane Hurlbut ASC member. I’ve directed you to his blog several times, and this is another perfect time to do so with his post about the shooting of Act of Valor, just released in theaters. Shane and his crew shot all of the action sequences in AOV with the 5d. Take a look at this great post to read in detail of the shoot, including 132 behind the scenes photos.
I can’t wait to check this film out.
Pleased to announce the new Regusci Winery web site with a lot of our pictures is up.
If you make it to Napa, be sure to visit this old historic beautiful winery. On top of the that, the cabernet is killer too.
We started our Learning Tree shoot in a class room situation at their offices. I’ve shot several times in this classroom, but we did it a little differently this time. I’ve lit this room several different ways, bouncing heads into the ceiling, soft boxes off camera, HMI’s punching through the windows, but this time I opted for hanging Kino Flo’s from the ceiling, skinned with #250 diffusion. The client specified they wanted a very nice pool of even soft lighting. For all you grip fans out there, here is my advice for hanging Kino’s from drop ceiling situations. I originally was going to use a scissor clamp, since that’s what they are designed for, but upon my pre-light day to test these out, I discovered not all drop ceilings are treated equally. The scissor clamps did not fit on these ceilings. I opted to mount baby plates on some 1×6 boards and slide them on top of the frame by removing the panel. A much better solution since the weight is now distributed over two of the frame bars, instead of just one. This worked out beautifully. It also keeps the head a few inches taller in frame, which was critical for these low ceilings.
Next, we went to a studio situation. Well, this is even better for control if you have the option. We had a rather large shot list to try and get as many points of view as we can with these scenarios. Shooting on a large cove would allow this. I wanted to surround the talent in the tables with soft light on all sides. We mounted several heads on speed rail for the cove walls, and punched in 4 more heads through a large silk for the foreground. This worked out beautifully. The only trick was to keep adjusting the power output for the narrow depth of field shots (F4) to wider depth of field shots to around an (F11). Assistant Hugh did a fine job sprinting around the cove to adjust power settings though.
Notice the jib for the camera. Certainly not necessary for a still shoot, this is for the smooth flowing video shots. Although, since we were constantly changing angles and heights, it was great to be able to do that on the fly with the jib, as oppossed to re-adjusting the tripod legs all day.
We were able to shoot at the swanky Quixote Studios in Los Angeles. Right next door, were the standing sets for Criminal Minds. Great fun to go explore their sets since they were on location
Thank you Learning Tree! Looking forward to next time.
Early this month, Canon announced their new, much-anticipated Cinema EOS C300 video camera. Some of its key features are a Super 35mm size sensor, 12-stops of dynamic range, on-board 50 Mbps recording to CF cards and HD-SDI outputs. The camera comes in two versions, one with a Canon EF mount and the other with a PL mount. The sensor is 4K (3840 x 2160) in resolution, with a unique color pattern that produces a very clean 1920×1080 signal. From early testing of the camera, they find no rolling shutter artifacts, moire issues, or other problems found on HDSLR camera sensors. The sensor has a native ISO of 850 and produces a clean signal all the way up to 20,000 ISO, giving amazing low light performance. And in the case that you have too much light, the camera also has built in ND filters.
The body of the camera is something in-between a video camera and an SLR. It is light, compact and designed to be handheld, with a detachable hand grip that can control the camera. . The camera’s 4″ LCD screen and audio interfaces are also detachable. The LCD screen attachment can be positioned in many different locations and rotated for better viewing. It also features full menu control, audio control and two XLR inputs. The LCD unit connects to the camera with two cables, giving it a lot of placement flexibility. The rear of the camera also has a small LCD panel, which features camera status info such as frame rate, shutter and ISO. Dials on the back of the camera and hand grip can quickly switch through these settings.
The camera has two CF cards slots and records in the same format as the XF305 and 105 cameras. This is a 50 Mbps 422 8-bit MPEG2 compression. Video can be recorded to either card, or both at the same time for redundant recording. Video resolutions and frame rates include 1920×1080 at 23.98p, 29.97p and 59.94i fps. Additionally, a true 24p mode is available for those doing film outputs. In 1280×720 mode, frame rates from 1-60p are also available for slow motion. All of these signals can be sent out over HD-SDI or HDMI, which gives you an uncompressed 8-bit signal. The camera also has genlock, timcode, and LANC connections for multi-cam operation and remote control. A WiFi port is also available, and with an additional accessory you can control the camera with a tablet.
Internally, the camera has a host of impressive functions including full painting controls for scene files. Many different gamma modes are available including one that matches Canon’s HDSLRcameras, as well as a Canon Log mode for the most dynamic range (learn more about Canon Loghere). Setting can be saved to an SD card, and moved between cameras. A waveform and vector scope are also built in for adjusting exposure and color.
Canon also has announced several new lenses that are geared for cinema use. These lenses have the same wide aperture as found in Canon’s L series still lenses, and will also come in their EF lens mount. They feature the smooth gearing that cinematographer demand for pulling focus and iris. Here are the three lenses announced, note the low T stop:
- Canon Prime Lens 24mm T1.5
- Canon Prime Lens 50mm T1.3
- Canon Prime Lens 85mm T1.3
Canon’s zoom lenses announced at NAB will also be made available in EF mount. The zooms go from 14.5-60mm T2.6 and 30-300mm T2.95-T3.7 and should be available in the first quarter of next year.
The C300 is the first camera in Canon’s new Cinema EOS line. The C300 EF and PL should be available in January with a list price around $20,000
Now for the kicker, the C300 will be available in January with a list price around……….$20,000
A far cry from the 5D Mkll in around $2,500. You can’t really compare the two I suppose, two different beasts.
*Thank you AbleCine for the technical breakdown. www.ablecine.com
Now is it just me, or does the shape feel like it coming back to the classic 16mm film camera that’s been around for ages,the Bolex H16