Can you spot the 5DII footage in this Shane Hurlbut feature

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f64manray

Well-known member
Can you spot the 5DII footage in this Shane Hurlbut feature? If you can, he'll give you a prize. This piece was shot with the 5DII,Sony 950 and Arri 235 (Film). Shane Hurlbut was DP for Terminator Salvation.


Remember reading Where’s Waldo when you were a kid? We thought it might be fun to play a similar game to test your vision with the following video!
In this Mio footage from our current Navy SEAL film project, we used two HD cameras the Canon 5D Mark II and the Sony 950. We also shot some of it with the Arri 235. Watch closely and see if you can tell the difference between film and the two HD cameras. Then, try to notice the subtle changes of the 10 Bit HD with the Sony 950 and 8 Bit color space with the Canon 5D!

Please post your responses on the blog and we will let you know the winner! Be as specific as possible in your responses. To make it more fun, the person who gets it right will receive a prize from Hurlbut Visuals as a thank-you for taking the time to watch and give us your input. The deadline is November 1, so have fun and watch closely!

http://hurlbutvisuals.com/blog/

This is a film for the Navy Seals.

In this segment, the Navy Seals prove that a yacht full of vacationing bikini clad women is no match for their superior training and skills when caught by surprise with helicopters and high speed boats. ..... Go Seals.
 
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My guess is that it's being used for the POV shots when the soldiers come onboard and maybe one of the wide shots from the helicopter. And no I can't tell the difference between 8bit and 10bit HD footage :) Maybe Barry can? :happy:
 
For sure seems like it was used for the crazy POV shots where the action moves really fast. There were a couple shots where there was the super shallow DOF, but things moved so fast it was hard to track it down without sitting and really analyzing it.

But, the fact that it's hard to distinguish the 5D from the Arri and the 950 is a testament to how great it is.
 
there's a pretty funny picture of a dude with a 5d strapped to the side of his head on shane's site. it may actually be shane. he wanted the perspective of a seal, rather than the perspective of someone following a seal.
 
here it is:

helmet-cam.jpg


read more here
 
Damn, I wish I could have a helicopter, some REALLY attractive women and a yacht to film my 5 min shorts!! (kidding)

Dream job.

It is pretty amazing the 5D is being used on major motion picture sets. Iron Man 2 and now this one. Way to go little 5D!! Interesting to read about it overheating - results in a boost of contrast and more noise in the blacks.

As a 'crash cam' does this mean they destroy the camera on impact?

PS: that the 5D is being used in this way is probably the best advert Canon could ever hope for in their wildest dreams. This camera is the first to have a hollywood cool factor this high. Why don't they make it better known and in their official marketing material?

PPS: read his whole blog. Its really interesting. Good articles on lenses. Canon = good skin tones, good saturation; Nikon: sharp and low contrast, smooth; Zeiss: high contrast and very sharp. Also, 5Ds on one shoot got a downpour for 10 mins and had no water damage. Shot in humid conditions whilst film cameras all jammed. Encouraging!!

PPPS (is that what comes after PPS?): Although it's water under the bridge now, Shane is the guy Christian Bale ranted to on the set of Terminator Salvation because he was walking in the line of the actor's sight mid-scene, distracting him. They made up afterward though. http://www.guardian.co.uk/commentisfree/2009/feb/05/christian-bale-shane-hurlbut
 
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Interesting, he has 13 5DII's in different configurations to be ready to go at a moments notice. Time is money on a movie set. Also, Hurlbut mentioned that the 5DII was used for most of the Seal footage.

Here are a few ideas that have worked well for the elite team:
1. Break down your project into all of the possible different modes that you might be shooting and plan to have at least one camera configuration for each mode.
2. Get as many cameras as you can! They are cheap to rent and constantly changing configurations costs you valuable time when shooting. It can even make you look disorganized and unprepared because a director may be ready to roll and you are floundering getting a camera into whatever mode you need.
3. Have at least one camera body assigned to each mode for shooting. For example, on the untitled Navy Seal project that I am currently shooting we have 13 5D bodies in all different configurations. Many have at least 2 in a particular mode for a multiple camera shoot.
The elite team and I had so much fun naming the different configurations that we decided to hold a contest for the best name. Mikey Svitak will be the judge, so please comment with your best idea for a name and we will announce it on our October 20, 2009 blog.
There will be a grand prize that goes to the winner, so let your creative juices flow and have fun with it! Here are a few of the names we came up with to get you started:
1. man cam mode
2. action cam mode
3. helmet cam mode
4. stripper mode
5. steadicam junior mode
6. studio handheld mode
7. crash cam mode
 
This is awesome info. As someone looking into which video-DSLR to eventually purchase, this is very interesting indeed.
 
I think he should have shot test charts instead.

All of this footage is available in 1080p, so it should be easy for the haters to tell exactly which is which scene-by-scene. The thread on Reduser is pretty hilarious, but nobody has even tried.
 
Blog currently down due to server overload.

Since Vincent featured this, Hurlbut's blog went from being a 2 comment a day place, to a must visit site (and rightly so).

Someone from Canon should reward him with a free advance look at the 24p firmware update :) The holy grail of 5D rewards.
 
Yey now everyone can go out with the camera they own and shoot something as great as Shane Hurlburt... ohp..nope... wait...

It doesnt' work like that.
 
Kholi said:
Yey now everyone can go out with the camera they own and shoot something as great as Shane Hurlburt... ohp..nope... wait...

It doesnt' work like that.
Click to expand...

Maybe not, but it does prove the camera is up to the job even if your skill set may not be.
 
f64manray said:
Maybe not, but it does prove the camera is up to the job even if your skill set may not be.
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Uhm, so is a PD-150 and a DVX. We've established that way back when NOVEMBER won best Cinematography at what? SUNDANCE.... IN 2004.

We're nearly in 2010. The gear has been there, done that.

So, in reality, the camera isn't up tot he job if your skill set isn't. And it hasnt' changed. It'll just look that much worse, thanks to the incredible tool.
 
Oh no not this again.

The HDSLRs seem to be giving some in the film industry the chills. They start to believe that 'anybody' can be as good as they are. But Kholi is right. It's talent that matters. Everything else is, as James Cameron put it, the negotiation of pay cheques.

But why his aggressive opinions on this? Kholi appears from this, to see the progress of technology and the enabling of people less fortunate than him to create the 'hollywood' look to their movies, as a major threat to his position.

Just my take on it and I may be wrong. But why dampen people's enthusiasm over the footage coming out of these cameras?

He doesn't need to be saying these things really, as from what I've seen he has the talent and the status both at work and on these forums to make his skill matter.
 
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And yet another thread starts with an interesting topic, and two pages in has already changed to "my dong is bigger than yours".

oh brother. :(
 
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There's some posts worth deleting and I'm normally anti censorship.

I think I can spot most of the MKII shots and not because they aren't great shots. They're the shots in tight spaces that you'd have a hard time getting with an Arri. These shots prove what I've thought all along DSLRs are feature film worthy in capable hands.
 
squig said:
I think I can spot most of the MKII shots and not because they aren't great shots. They're the shots in tight spaces that you'd have a hard time getting with an Arri. These shots prove what I've thought all along DSLRs are feature film worthy in capable hands.
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True, and the stealth factor is good for certain big scale movies too. Just the small size of the HDSLRs is an advantage in getting some shots.

Just been shooting a fashion ad in the UK and everybody - and I mean everybody, from the models all the way down to the members of the crowd thought I was taking photos. There was a disconnect as well between the girl sending the models out and what we needed them to do. She said - "wait for the flash at the end of the runway, then turn around." When the flash never fired, I began to get some strange looks for people not 'in' on it!! :Drogar-Shock(DBG):

It's a video cam!!
 
commanderspike said:
It's a video cam!!
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yeah I was shooting in a club recently and people just stood frozen in time waiting for a flash. It's amazing how long they just stand there, I felt like a timelord. Now I have my genus mattebox and korean shoulder rig so maybe now they'll just wave "hi mum!"
 
It can be like an Andy Worhol experiment at times :)

Some of the models were, like... 'um.. why haven't you taken a photo? am I not attractive?'

Meanwhile, I replay footage at home constantly in slow mo. MUHAHA.
 
I tried to do a cut by cut breakdown of the cameras, but when the action scene was initiated and guns started going off and there was a cut every second or so, I gave up. It just wasn't worth it. What I did get from the little bit I viewed is that there are indeed noticeable differences between the cameras, but when used properly you can minimize the appearance of those differences when intercutting properly.
 
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