After I saw the vid, I called Paul to get some feedback on the project… Paul likes to talk HA! Just like me! The movie is down below the discussion with Paul.
Notes from Paul
We talked for quite a bit… here are my jotted down notes from the call:
paul actually read the manual! Got most of the setup without reading it – but in the manual, there's a lot of buried functionality.
They dad some ideas of locations, found an American flag pin, thought of the idea in the shower, forced mike to act which he'd never done before.
All natural light – nothing like the sun. Shot the whole thing in about 4 hours. The last few shots were done in hour and a half and they were losing the light. First 2 1/2 hours were playing with camera in lowe's parking lot.
one interesting thing to note, 17-55 – all handheld, IS is very helpful – had to crop due to the lens hood at 17mm… so some shots are cropped. The lens is a 1.6x crop design and the Canon EOS C300 is 1.5 crop so he thinks that's why the hood was visible.
Shot where he walks up to the Lowes; when they shot, Rick's reflection is in the window so we cropped about 20% and it still looked nice, even on vimeo with the compression.
Cut and graded in about 4 hours – Premier pro is very fast with Canon EOS C300. FCPX is even faster (but I didn't use it to do the cut – just tried a couple of tests). Renders out very fast (max detail, high bit rate etc) it rendered in under 10 minutes as compared to AVCHD
pushed the second extreme closeup – pushed – almost whitewashed – almost like looking thru a glass of milk – shooting thru car window. I was able to crush the blacks and was able to get a useful shot. There's a little noise in that shot, but that's because I was recovering the file.
Worked in c-log the whole time. Didn't have a hood for the monitor and we mis-judged the color. the custom white balance function was wonderful.
Focus – edge color really helped. Real waveform monitor was very useful – histogram is ok, but waveform is better.
955 smaller battery lasted the entire shoot – almost 6 hours, shot 80 minutes of footage. Did shut off HDSDI out to save a little battery. 3 batteries would last all day
FS100 is built like a tinker toy, the Canon EOS C300 is built very well. We put it to hard use and weren't treating it like a baby and cleaned it at home and it looked like it hadn't been used.
This is a great documentary camera – especially with some IS lenses. Varied light situations are not a problem Very easy to focus with without any hunting.
The codec holds up – Canon has done an amazing job with tweaking things and you don't need an external recorder. There has to be more than 12 stops in the camera (didn't actually measure), it performed better than I thought it would. Mike Sutton told me that he shot with the Alexa side by side and he couldn't tell the difference.
We shot a lot at the higher ISOs just to be able to stop down the lenses.
Sandisk is the only card to use. Tried others and they couldn't keep up.
720 slomo looks like the 1080 slomo from other cameras – there's a lot of detail in there. There is a slight softening, you have to be careful, but most people will ever be able to tell the difference.
Saw no color aliasing.
No moire on the bricks in the old run down factory… even in the original footage. You can find some if you do a 200 or 300% crop.
Rolling shutter was virtually gone – the driving shots show no obvious rolling shutter.
If you put everything together with one small form factor (DSLRish feel) – this can easily surpass the Sony F35 – can match up with the RED downgraded to 1080p (an incredible camera). The lattitude is
8 bit is a non-issue. Noiseless to about 4000. There's a light grain that negates any 8bit complaints. There's no banding. The stops is very close to the natural eye.
I spent a lot on this camera and I expect to use it for many years.
Camera allows us to not think about the camera – we just got out and shot.
I received my C300 last week and invited over Rick Macomber (@Boston_Camera) of Macomber Productions and Mike Murie (@notesonvideo) of the excellent Notes on Video blog to play around and take some test shots.
But test shots are boring. Why not put a story together? We quickly pressed Mike into service as our actor, came up with a quick story in 30 minutes, and then with the 4 hours of light we had left in the day, went out shooting. This is what we came up with, which was edited and completed the next day. It's a message about our economy, our veterans, and more.
NB: Do download the file if you're looking to see what the C300 can do. The vimeo compression is harsh on C300 footage; you don't see all the detail like you have a chance to see even in the compressed download. It's better, trust me.
Normally I don't talk about what tech I utilized, but this is a C300 test so I will this time. I may blog about the experience or talk about it with Mike and Rick on someone's site or podcast sometime soon.
Canon Cinema EOS C300 camera obviously was used. We used it handheld with just the built in EVF and grip, and also on a slider and sticks with the full monitor setup. The waveform monitor is a godsend. It was difficult judging white balance in the setting sun however, even with the EVF, because we shot C-Log the whole time. The camera has a View Assist LUT but it isn't foolproof.
Lenses used were the Canon EF-S 17-55 F2.8 IS (the lens hood can come slightly into the frame at 17mm so be careful) which had useful IS for handheld shots, the Canon 70-200 F2.8 IS II, The Tokina 11-16 F2.8, the Canon 100mm F2.8L IS Macro, and the Canon 50mm F1.4 USM.
Music by the talented and giving Kevin Macleod from his website.
Locations were in Haverhill MA, and Salem NH.
Kessler gear supplied by me (opening shot is a programmed Oracle/Elektra Drive slide) and Mike Sutton for full length pocket dolly.
Graded in Magic Bullet Looks. Edited XF Codec natively from the cards using Adobe Premiere Pro. It was pretty fast and rendered out very fast (as compared to AVCHD). The only place codec fell apart was when I took a nearly white shot (one of the ECUs of the face in the beginning) and crushed the tones severely. You may or may not notice it over the Vimeo compression.
The download file is encoded at 10Mbit 2 pass VBR. The original render out file is ProRes 422.
(cover photo credit: snap from the video)
via The Cost on Vimeo.