When we first did some camera tests, we quickly realized that doing most of the shooting between F2.8 and F4.0 at 10ft distance, our depth of field on a 100mm lens was about 4″-5.5″ inches. When getting even closer to do extreme Close Ups, that distance became even more unmanageable. We made the decision to use a Canon 7D with a smaller chip and a multiplier factor of 1.6 to slightly increase the focal distance. We now got about 11-15inches of focus on the same shot by being able to use a shorter lens or backing up.
Since it was a 2 camera shoot, John was doing most of the masters and wider shots on the Canon 5D MII, mostly with a 35mm and 50mm Zeiss Prime, while I was shooting the Canon 7D with the 85mm and 100mm Zeiss Prime.
We also had the 18mm, 21mm, and 28mm of the ZE Mount Zeiss lens set.

The second issue was trying to provide video village for Alex Wright the director, and for the script supervisor. We played around with the idea of using a USB cable into the laptop and monitoring it via “live view”, but the signal was just to slow. The only other way to go was the BlackMagic SDI conversion box, going into the Marshall 7″ SDI monitor, and looping back out to video village via BNC cable which is cheap and long.

This worked great, except that during the shooting you could have a sudden signal loss and then had to figure out if it was the battery on the blackmagic converter box, your dinky HDMI cable, or your Marshall monitor battery. So my suggestion is that if you have the money, get a one battery solution for the whole rig via a Contineo 5D Power Cage

You can use the Contineo HDMI cable clamp which gives you the ability to protect the HDMI cable that WILL GO BAD if you continuously bend it during your shoot, trust me !!

The next item on the list is the rig itself. John Tarver bought the DSLR Field Cinema Deluxe Bundle V2 from RedrockMico. The only problem I had, was that his handle sits on the same 15mm rods as the camera. So when trying to add the 70-200mm Canon Zoom lens (which we did use every now and then) you didn`t have enough rod space left to add the lens and the follow focus unit.
On my rig I had the additional MicroCage Builders Kit, which raises the handle, and also protected the camera. It also helps to have the longer 24″ rods, to offset the counter-weights further backwards behind the shoulder pad.

I mounted the microArm onto the microSpud that comes with the rig to be able to attach the arm anywhere on the rig with the monitor on it. Unfortunately the microSpud is made out of aluminum, and the arm strips the threads almost immediately. Then you have a loose arm, which will bug you for the rest of the shoot. I will have one machined out of steel. Something to look out for.
Here is a picture of the size of the rig with the weights. Once I get the BTS pictures I will upload one that shows the other side of the rig, this is all I have for now.

Even so Alex was not to fond of steadicams, I decided to bring a model we got from India which we had modified. It came in very handy a few times when doing long hallway walk and talk shots, Demon POV’s, and some jib arm type pedestal shots. I have an adapter clamp that we secured to a wheelchair, so I could operate the steadicam without a west. These smaller systems have very little weight or mass to them, so you have to be much smoother than with a full size steadicam system. I`ve operated both, and there is a place for either, but that’s another discussion.

One of the nice things about the 5D is that you can move quickly and reposition in seconds. You can even pop the camera and get into very tight or low spaces before the AD decides its time to move on. One of the warnings I learned, and this is because the whole film was done 95% hand-held, is to watch your back. Because the camera feels so small and light, you tend to lean a bit to the right or left, then a bit more,… to adjust your shot while rolling. You tend to get into contorted positions that you would not be able to get into, hand holding a RED or bigger camera. This doesn`t come to realization until the end of several days of shooting, at which point it’s very painful. So if you are on a longer project, take care of yourself.

As far as audio, we just recorded wild sound into camera via the build in mics, and the editors are using plural Eyes to line up the sound. We used an old style slate, synching to the clap. I would recommend a time code slate which would speed up that process a lot.
You can also, via wireless mic, transmit LTC time code to the Canon 5D MII and record it on the audio track. By using video toolshed software plugin you can then convert that signal into time code and have your editors synch it quickly.

A note on focus.
Get the best AC you can afford. Set up a little shrine in the production office and make lots of offerings to the focus gods’. Unless your actors hit their marks within three to four inches, you will have a tough time. It is definable doable, but there will be a few re-takes here and there for focus. It pays to have 24″ monitors in video village and someone paying attention to it.

I want to give a special thanks to Christopher Kilkus, a good friend of mine and business partner for helping out with all the gear, and making it available to us.

That’s it for now, overall I did enjoy the experience with these cameras, it was a bit of an adjustment, but everyone was very impressed by the performance. I`ll post again once I have some news on how the post-workflow is going.

Working with the Canon 5D MII on a Feature is a post from: ChristianStoehr.com

“Seance” Feature Shoot Finished is a post from: ChristianStoehr.com

Hello world! is a post from: ChristianStoehr.com