Hollywood Celebrity Canon DSLR Users

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I'm offended someone called Jim a liar, he has never lied to me or anyone I know who has ever done business with him. A straight shooter who has a passion for this business, let me ask you this, does it make you feel better about yourself to invalidate a billionaire on a personal level?

Since some of my friends sold tornado footage to the discovery channel shot on $199 best buy cameras I guess it is a professional video cam now. Geez...

And get this, I'm not a racist, I like all cameras.
 
If you want to see the 7D broadcast in HD, watch "Too Many Babies?" on TLC tomorrow (March 16th) at 10 p.m. E.T./9 central. Some of the b-roll is shot with the 7D, and you can spot it from a mile away.
 
Kellar42 said:
I'd be the first to admit the DSLRS have plenty of issues...but are you telling me that they are not going to shoot an entire episode of House on them, as reported around the net?
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Besides a flimsy posting on Cinema5D, where's the proof they are? That's the only source I've seen.
 
Taylor Rudd said:
If you want to see the 7D broadcast in HD, watch "Too Many Babies?" on TLC tomorrow (March 16th) at 10 p.m. E.T./9 central. Some of the b-roll is shot with the 7D, and you can spot it from a mile away.
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I know the point that you are making (good one) but this isn't such a bad thing. When folks start mixing cameras they risk running into things like these (unless they are one heck of an editor). For example, I saw this in Crank 2 between the HF10 and A1.
 
f64manray said:
You really need to sit down and talk to Charters and Hurlbut. You seem a bit out of touch about this DSLR thing.
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Yes, Charters is using 35mm to shoot 24 and is using the 5D to shoot background plates that will replace the green screen when they shoot car scenes.

And for all of Hurlbut's posturing, he's only used it for an Internet short (which it's fine for) and for similar effects shots in Terminator: Salvation (and, in a video I found amusing, Hurlbut is demonstrating camera moves that are possible with the 5D that would only result in jellovision).

Frankly, I'm pleased with the interest that the HDSLRs are putting in people with the whole "interchangeable lens" ability. I think that's great. However, I don't care for the CMOS and aliasing. I'm already budgeting to get one, don't get me wrong, but there's no way in hell it'll be my main camera. I'm watching the developments with interest, but I'm really tired of all the ignorant talk on here as if entire TV shows are dropping everything to shoot entirely on these cameras, which they are not at all.

When a single-camera dramatic series broadcast on national television goes full HDSLR, then I'll be impressed. Until then, stop blowing smoke out your ass.
 
Someone I know on the set of the final episode for House told me he only saw still cameras being used. This pretty much confirms the Cinema5D's article for anyone who had doubts.
 
Someone I know on the set of the final episode for House told me they were using Nikon D90s, so I guess that settles that!

[/sarcasm]
 
subtleinspiration said:
Yes, Charters is using 35mm to shoot 24 and is using the 5D to shoot background plates that will replace the green screen when they shoot car scenes.

And for all of Hurlbut's posturing, he's only used it for an Internet short (which it's fine for) and for similar effects shots in Terminator: Salvation (and, in a video I found amusing, Hurlbut is demonstrating camera moves that are possible with the 5D that would only result in jellovision).

Frankly, I'm pleased with the interest that the HDSLRs are putting in people with the whole "interchangeable lens" ability. I think that's great. However, I don't care for the CMOS and aliasing. I'm already budgeting to get one, don't get me wrong, but there's no way in hell it'll be my main camera. I'm watching the developments with interest, but I'm really tired of all the ignorant talk on here as if entire TV shows are dropping everything to shoot entirely on these cameras, which they are not at all.

When a single-camera dramatic series broadcast on national television goes full HDSLR, then I'll be impressed. Until then, stop blowing smoke out your ass.
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Yep, pretty apparent that you're a crass person unable to be civil. Shane Hurlbut is using the 5DII for 75-80% of his Navy Seals movie, but you're not impressed unless they use it for some TV show.

Obviously, Hurlbut could use anything he would like. As a ASC DP with experience since 1986, he chooses the 5D.

ASC Rodney Charters used the 5D as a primary camera for a pilot. There are at least 3 ASC DPs that say the camera is good enough, but they are obviously not up to your bar or have the discerning eyes that you do.

I come here to learn, but it's posters like you that make it truely entertaining. I thank you.
 
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f64manray said:
Yep, pretty apparent that you're a crass person unable to be civil. Shane Hurlbut is using the 5DII for 75-80% of his 53 million dollar 60 day shoot Navy Seals movie, but you're not impressed unless they use it for some TV show.

Obviously at 53 million, Hurlbut could use anything he would like. As a ASC DP with experience since 1986, he chooses the 5D.

ASC Rodney Charters used the 5D as a primary camera for a pilot. There are at least 3 ASC DPs that say the camera is good enough, but they are obviously not up to your bar or have the discerning eyes that you do.

I come here to learn, but it's posters like you that make it truely entertaining. I thank you.
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Great post and don't sweat it. It's hard for people to understand what these HDSLRs are actually capable of till they use one. Having worked with both I must say that IMO HDSLRs are the future and I love the image they produce.


I currently own a T2i, but would love to one day own a FF HDSLR like the 5d or next model after that one to even have more of a professional look. I mean just look at this footage, it is simply Amazing



 
justinslee said:
Someone I know on the set of the final episode for House told me he only saw still cameras being used. This pretty much confirms the Cinema5D's article for anyone who had doubts.
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subtleinspiration said:
Someone I know on the set of the final episode for House told me they were using Nikon D90s, so I guess that settles that!

[/sarcasm]
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lol ok I guess it doesn't truly confirm anything, but hey, two sources better than one right? :happy:
 
Guys...guys...

Welcome to 2010. For less than $5,000 you can actually own enough kit so that with a great cast and story and shooter your movie can compete with pretty much anything out there on the big screen or small. That's all this is about. Suddenly early, low-budget talent showcases can look like a professional product if enough care is put into them.

Sure we can say this was true of DVX100s and HV20s but for whatever reason, the look of these DSLRs seems to go even beyond this...to a point where we are seeing people who could afford something 'better' choosing this cameras. That's a huge thing. It's a brave new world. We should all be rejoicing together. They've got problems, sure there are lots of options, many of them better for one way or another, but suddenly the lower budget guys can get a 'big budget' look, if they work hard at it! Yay!

I don't get the extreme prejudice against these cameras by a few or the extreme defensiveness towards them by many.

Anyhow...
 
f64manray said:
Yep, pretty apparent that you're a crass person unable to be civil. Shane Hurlbut is using the 5DII for 75-80% of his Navy Seals movie, but you're not impressed unless they use it for some TV show.
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First, thank you for correcting your erroneous assertion in that post that the "Navy Seals movie" had a 60 million dollar budget. You obviously confused it with Into the Blue which was shot on Arri's.

Second, it's not a "movie"...as far as I've been able to find out, it's a series of web spots for the Navy. As such, the camera affords him that ability to make it look more expensive, which is absolutely fine. It's great for web spots.

Obviously, Hurlbut could use anything he would like. As a ASC DP with experience since 1986, he chooses the 5D.
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For crash cams and small projects with low budgets. Is he using it as an A-cam on his next feature? I bet not.

ASC Rodney Charters used the 5D as a primary camera for a pilot.
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A web-based pilot that had a small budget.

There are at least 3 ASC DPs that say the camera is good enough, but they are obviously not up to your bar or have the discerning eyes that you do.
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Who are these three ASC DPs and what do they say the camera is good enough for?

I come here to learn, but it's posters like you that make it truely entertaining. I thank you.
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Oh yes, heaven forbid anyone should point out that these cameras may be great in certain circumstances, but are not quite ready for prime-time.
 
subtleinspiration said:
Second, it's not a "movie"...as far as I've been able to find out, it's a series of web spots for the Navy. As such, the camera affords him that ability to make it look more expensive, which is absolutely fine. It's great for web spots.
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He shot some spots for the Navy, but it is a feature film (Warner brothers) called "The only easy day was yesterday" scheduled for fall 2010 release. Shot with 75-80 perent with 5D/7D. Hurlbut mentions that as production went on, even the footage that was planned to be shot on 35mm was shot on the 5D/7D as the cameras proved themselves. He says these cams are the future, and I'm sure he wouldn't have any qualms about saying they are suited for principal photography. You should hear him talk about it. the guy is a fanatic about these cams and has the resume/authority to back up his statements.

Who are these three ASC DPs and what do they say the camera is good enough for?
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Charters, Hurlbut and Nichols. They say they're good enough for principal photography. And when Hurlbut bids a project, you can bet they will be with these cams in mind (paraphrasing him). Money and budget will really drive how much these cams will be used in any production. No film cost, no telecine, no processing. Immediate feedback on set, no costly reshoots. I'm thinking this will be important to any producer. The film industry must be a leaner financial endeavor to increase the profit margin. These cams are the answer to that as well as expanding the filmmakers vision with how the camera can be moved and the greater intimacy that can be achieved with these cams.

Oh yes, heaven forbid anyone should point out that these cameras may be great in certain circumstances, but are not quite ready for prime-time
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Well, you are hardly qualified to point that out. Nor am I for that matter. We must listen to those with vast experience in the field and that comes with that ASC before the person's name. I will listen to people like ASC Rodney Charters and ASC Shane Hurlbut. They have been the trail blazers ove the past year. They are the first. It's only been a very short time since these cams have been released (1 1/2 years). You can hear the cracking in the established paradigm. The flood gates will open as the bottom line rules the day.

Minutes for camera set up instead of hours? That will make all the difference given the quality is there. Hurlbut says it is. I don't think he would settle for anything less than excellence.

More coming on March 25th? (I think). Zacuto has a shoot out with these cams and 35mm film. More grist for the mill. I LOVE IT!
 
f64manray said:
And when Hurlbut bids a project, you can bet they will be with these cams in mind (paraphrasing him).
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Yeah, if the particular project affords him the opportunity to use them. These cameras may be able to take over duties for some of the big guys, but there are still many issues (compression, color space, rolling shutter, etc.) to overcome before we can consider these true replacements.

The extremists on both sides of the argument need to settle down. I'm a big DSLR supporter and the future is bright with these cameras. But let's walk first before we try to run.
 
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