F55: F55 and F5 A/B cam

K

klk

Well-known member
Has anyone used the F55 and F5 side by side and taken the footage all the way through post/ delivery? I imagine/ assume the image will look very very close under most circumstances (narrative- episodic TV). I know they can be made to intercut as I've shot Red Epic and Canon 5D2, or Epic/Alexa together far too many times. On this project I have no idea who is doing post, and want to minimize matching corrections.

Thanks in advance.
Karl
 
klk said:
Has anyone used the F55 and F5 side by side and taken the footage all the way through post/ delivery? I imagine/ assume the image will look very very close under most circumstances (narrative- episodic TV). I know they can be made to intercut as I've shot Red Epic and Canon 5D2, or Epic/Alexa together far too many times. On this project I have no idea who is doing post, and want to minimize matching corrections.

Thanks in advance.
Karl
Click to expand...

Like you said, of course they "can" be matched but can I ask if its that much a concern why not just go for two F5's?
 
Exec producer purchase F55 body, no accessories, then fired the producer and director. New team is in place. The current producer told me she cannot possibly afford to rent all the necessary accessories for the F55 and a second camera package.

To complicate matters the new director (who has directed 11 features, 26 episodes of a TV show and had his films play at Sundance, Toronto and a number of other festivals) wants to shoot on ML hacked Canon 5D3's. He is obsessed with the odd and obscure, production hassles be damned.

As dp I would choose 2 F55's, with a varielty of Optimo zooms to help meet the production schedule- 6-10 pages per day for 10 weeks.

That's not going to happen so researching different solutions that'll keep everyone happy and the camera crew sane.
 
Ok that makes sense, and sounds like reality - a DP never being able to work how they want due to some crazy bureaucracy. :happy:
 
I think 5 & 55 will be fine together.

There are measures in place to make sure the differing color primaries of the two sensors are mapped out correctly, at least when recording to SLog2 & S-Gamut.

I would go for it.

Besides, what's more important? Making your days and not having crashing Canons on set, or A&B cams that a colorist has to work a little harder to match? But really, they will match anyway. Colorists have to work to match two identical cams anyway just because of differences in lens flare, mixed light coverage, etc etc.

Serious though, I'd do my best to scare the director off hacked Canon 5Ds by telling him about not making days waiting for cams to reboot, etc etc. That honestly sounds like the worst idea ever.
 
I cringed and rolled my eye's at the same time when I read the line about the hacked 5D.

On a recent 8 day job shooting promo spots for a major broadcaster, the director and I were forced by the EP to use a 5D. We explained all the definite and possible pitfalls going that route but it fell on deaf ears. Only after a number of post and on-set issues that were costing them money did they see the light of day and let us use a C300, which I will say I enjoyed using as it was my first time. The irony was the director owns a F3, I have a 3 and a 5 but we were only allowed to use the production company's in house gear. Every time we had huge lighting ratios out of our control, we would turn to each other and say "SLog coulda handled it". ;-)
 
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