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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Has anyone else watched Like Crazy yet?

D

drew sandoval

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It's the first movie to be completely shot on the 7d, not just a scene or a few crash cam shots or whatever, they did the whole feature film on the HDSLR. Seeing film on a big screen is obviously different than seeing it on YouTube, or even a hd tv screen, and I was extremely impressed at how well it held up. Just wondering if anyone else saw it, had any opinions?
 
Just looked at the trailer and immediately looked it up on IMDb. It looks relatively decent but something on IMDb confused me..it said that they use Zeiss Ultra Primes. Isn't Zeiss glass incredibly expensive in comparison to the 7D?
 
lots of people rent lenses. and there are other reasons besides price that people decide to shoot with certain cameras. i've heard mixed reviews... the storyline is much more intriguing to me than which camera it was shot on. i'd like to see it.
 
its not the first movie shot entirely on a 7D, I remember another feature last year that was shot on 7D and it did good. I'll look it up
 
Actually - not to be completely pompous, but rather in the name of Facts -

I shot the first film done entirely with the 7D. Ari Dassa's Winter Nights:

http://www.youtube.com/watch?v=lyc0qLh_SeY

I'm not saying its the best film ever, but its most certainly the first. How do I know? We started shooting literally the night that the 7D became available for sale in the US.

Its also part of the reason I left Canon cameras for good. Tim Smith from Canon had been informed that I shot the world's first 5D feature (still not released yet - but soon - originally called The Louisiana Conversation - retitled The Lower Angels) He acted kind of buddy buddy. When I asked for a loaner camera or two to shoot winter nights for Ari D. he never returned my call, nor my emails. If he said "No" this would have pissed me off less, but he ignored me. This was back in 2009 when the whole idea of a tiny DSLR motion camera was still sort of fresh, oh - and canon had not yet introduced 24p to the 5DII.

Interestingly enough it was my Personal PL7D that was Rented to the production of "Like Crazy" . I was friends with the PM, and had told him about the camera, and also his DP had been requesting just such a thing. My personal camera was HotRod Cameras PL7D Serial number 0001. See, I helped Illya Engineer the PL mount for the 7D. There had been a lot of talk, from a lot of different people about how possible or impossible it was to do such a thing, and I had known it was possible, having seen just such a proof of concept from Reduser Pawel Achtel. I had a lot of design input that was used, and some that was ignored, including a conical interior baffle system much like what they ended up putting into the Denz-Deniz PL 7D. The main thing I showed Illya was that it was possible to do such a thing, and that I had literally zero fear of destroying the thing when we put it down to the CNC router.


After they completed "Like Crazy" my camera was subsequently STOLEN when it was SubRented to Birns and Sawyer. Apparently it was one of those seemingly Legit "Fraudulent" rentals, and they were hit pretty bad - but never fully paid me for lost rental, even though after a LONG LONG LONG time I eventually got the retail value of my lost serial number 1 back.

I used that Money to pay CASH for my wedding to my lovely wife in October, 2010, and I never looked back.

As long as I can, I will use the best tool for the job to make films - and right now, and for the foreseeable future Red is the camera for me. There is absolutely nothing that any canon camera can do that an Epic or Scarlet Can't do. In fact - just the opposite - there isn't even autofocus feedback in the Eos C300. Clearly a case of a company being too big to react quickly - sort of like a brontosaurus - cool dinosaur - but still a slow ass dinosaur. Internal politics over there at Canon suck. Tim Smith pissed me off royally - he could have been my pal, but instead handled it like a chump. I like doing business with American Companies now too, if I can - which is another reason I'm pals with Illya, and I love Red. Illya makes all his stuff here in the US - he's sort of Red Agnostic though - I'm trying to help him see the light ;)

Sorry for the personal tangent - just thought I'd share a little personal quirky history.
 
Fact: - they Did use Ultra Primes.

Fact: - The DP is a Red User, but the director was concerned about the size of the camera, and maneuverability for Run and Gun style work. Much of it was done in a Verite' style manner.

I think it is notable as the first financially and critically well-acclaimed film shot on a DSLR.
 
Dan Kanes said:
Fact: - The DP is a Red User, but the director was concerned about the size of the camera, and maneuverability for Run and Gun style work. Much of it was done in a Verite' style manner.
Click to expand...

The only thing people are not liking about the Canon C300 that has any merit is the price – $20K MSRP, less at B&H. Everything else about that camera, from the perspective of a director –*not a DP* – is just awesome. It really is a run-and-gun version of those cheap-ass DSLRs with FANTASTIC image quality, a robust 4:2:2 codec that records to cheap-ass CF cards, and everything is designed to work quickly. For indie filmmakers, I'm expecting them to flock to it like crazy, especially since the Scarlet-X will keep rental prices down in the gutter for the C300.

It's a strange time that we live in.
 
drew sandoval said:
Just wondering if anyone else saw it, had any opinions?
Click to expand...

I saw it at Sundance, where it won the top prize. Excellent film, beautifully shot. You would not know it was shot on a Canon - and that's the way it should be.

Act of Valor is an action movie out soon, shot by Terminator 4 DP Shane Hurlbut entirely on Canons. Looks amazing in that respect: http://www.actofvalor.com/bf3/ ....though story-wise it could be on a par with a Chuck Norris movie.
 
Erich Ocean said:
The only thing people are not liking about the Canon C300 that has any merit is the price – $20K MSRP, less at B&H. Everything else about that camera, from the perspective of a director –*not a DP* – is just awesome. It really is a run-and-gun version of those cheap-ass DSLRs with FANTASTIC image quality, a robust 4:2:2 codec that records to cheap-ass CF cards, and everything is designed to work quickly. For indie filmmakers, I'm expecting them to flock to it like crazy, especially since the Scarlet-X will keep rental prices down in the gutter for the C300.

It's a strange time that we live in.
Click to expand...

I'd respectfully disagree. For the independent filmmaker who doesn't want to use a Red, there are better cameras than the C300, for cheaper:
Nex-5N
Gh-2
5DII
Sony FS-100
Panasonic AF-100

From a director's standpoint.

My opinion is that a DP should have the final say in what format is used, but he or she should use this choice humbly to select what will allow the film to get made Best for the Director.

From a technical perspective as well as an artist's perspective - I can tell you ONE problem that is immediately evident in the C300 as I did use it hands on. The 8 bit processing path from the sensor through the A/D coverter Is a huge mistake. The 12 and 14 bit a/d in dslrs before the 8 bit encoding makes a ton of difference. This is evident when you turn on C-Log or as I like to call it CLOG. Not at all like S-Log , Log C,Redlogfilm.
 
I also think the Canon C 300 is too expensive but have yet to see what it really looks like. I wonder if its HDSDI output is 10 bit? Anyone know?
 
Bob Torrance said:
I also think the Canon C 300 is too expensive but have yet to see what it really looks like. I wonder if its HDSDI output is 10 bit? Anyone know?
Click to expand...

It's $16K street, 8-bit out (only). If you're going to attach an external recorder (and thus clearly don't care about bulk), the F3 is a better choice.

A film like Like Crazy is an ideal candidate for the C300. Better codec, same size, pro-connections. Oh, and Like Crazy was also shot on an 8-bit codec.

My Epic-X arrived today. It's a real struggle to keep it small –- it's already 50% heavier than a C300 and I haven't attached anything to it! Plus it requires at least 2 stops more light.

But the high speed is to die for, the extra resolution is great for shooting VFX plates, more dynamic range, etc.

Each camera has it's uses. :-) At this point, I'll probably shoot the C300 as a B-cam, and at night.
 
I ask anyone who says epic 'needs two more stops of light' to prove it.

Sorry but my opinion is completely different and I call BS.

Furthermore - while the codec might only record in 8 bit, the A/D Conversion is 14 bit on a 7D Yielding 'Better' imaging via oversampling.

I'm one of those who thinks that there are too many c300 apologists out there, and if you need a reliable long-gop or short top 1080 camcorder you could save $14,200 and get a GH2, or $11,000 and get an fs100.

The market is saturated and there aren't really any "lunches to be eaten" as it were. C300 is an interesting tech demo for January 2009 just not sure why I would ever take a Ford Windstsar to work if I could drive a 240sx, a 350z. Or a Porsche Turbo with matte green paint
(Gh2/fs100, scarlet, and EPIC respectively. )
 
Guys, none of this is news, film samples aside, Lynch has used the pd-150. Von Trier shot Dancer in the Dark with an interlaced ( think it was Sony), and on and on.
All of these things are great, but please consider, all of these things and much more are also being done on far superior cameras: Ask yourself, will the gh2 meet the
greatest of your filmmaking needs. Will C300 quality be enough for every one of your aspirations? Just because a glitchy camera won an award is no reason to believe
that glitch will serve your long term purposes. Besides, you can always
do glitch from quality, but never the other way around. Scarlet is a fabulous offer.

So now we're buying "B cams for night shooting." ( : Any night imagery that I've seen from the Epic has been damned fine.
Norm Li posted his night tests a few months ago. I expect Scarlet will be the same. We'll soon see.

And consider, Tom Lowe is busy cutting 5K Epic footage (with 1080 playback) with PPRo on a "basic" computer with no raid, and no R Rocket card.
And if you really want to be impressed, check out this at Adobe TV spot that talks about NATIVE editing, including r3d files without transcode or rendering or....

http://tv.adobe.com/watch/cs-55-pro...emiere-pros-64bit-editing-and-grading-power-/
 
I think I'm the first person to put a PL mount on a Canon, as I was the one who did the work on Pawel's camera . . .
 
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