Interview Shots from a Corporate Project

Elton

Elton

Veteran
Here are some grabs from some interview shots using the 5D MK II this past week.

Absolutely wonderful camera for this stuff. Matches the look of the stills shot for the project with a Canon 1 DS Mark III.

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Spartacus said:
How did you guys handle sound?
The pics look REAL nice...!
Click to expand...

We went old school with a slate and an external audio recorder. Actually, we ran audio out of the Zoom H4 recorder and split it to both camera's inputs, but the quality of the Mark II's audio section isn't even close compared to the recorder.

Here's a crappy pic I snapped with my cell phone of our setup on one shot. Not exactly tidy looking, but the images and sound are amazing.

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Edit: Here's a sample from this interview on Vimeo. http://www.vimeo.com/3604357

Shooting stills before the video

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The Zoom 4H records to CF cards right?

You said you ran the Zoom 4H into "both" of the Canon 5D Mark II's inputs? Isn't there only one sound jack?

When you say that it wasn't even close, could you elaborate?

Thanks!
 
StormFactory said:
The Zoom 4H records to CF cards right?

You said you ran the Zoom 4H into "both" of the Canon 5D Mark II's inputs? Isn't there only one sound jack?

When you say that it wasn't even close, could you elaborate?

Thanks!
Click to expand...

Edit: actually SD cards recording 24bit wav files.

We had a cheap little splitter box that sent the audio into both camera's inputs. (two separate xlr to 1/8" adapter cables) This was for backup audio and it doesn't sound that good because the auto gain is not good on the Mark II and can't be defeated.
 
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Wonderful lens...this really shows...you have DOF control, but also amazing textures in the skin and clothes at few if any under $25k cameras can match.

Manual or not...live HDMI or not...good glass, a big first rate sensor, and very efficient high bandwidth recording seem to have redefined video recording.
 
DavidNJ said:
Wonderful lens...this really shows...you have DOF control, but also amazing textures in the skin and clothes at few if any under $25k cameras can match.
Click to expand...

It's amazing to have that kind of DOF control in tight spaces. In the bts pic of the girl in front of the bookcases, our wide shot with the Nikkor 17-35 was able to get a nice framing and still get the background to go a little soft. The CU is an 85mm and it's really sweet.

Manual or not...live HDMI or not...good glass, a big first rate sensor, and very efficient high bandwidth recording seem to have redefined video recording.
Click to expand...

I would agree.
 
Elton said:
We went old school with a slate and an external audio recorder. Actually, we ran audio out of the Zoom H4 recorder and split it to both camera's inputs, but the quality of the Mark II's audio section isn't even close compared to the recorder.

Here's a crappy pic I snapped with my cell phone of our setup on one shot. Not exactly tidy looking, but the images and sound are amazing.

1235778225.jpg
Click to expand...

hey that tripod head to the right... which one is it?
 
It's a little Gitzo tripod. We fit our entire production gear into a handful of Pelican cases, including lights.
 
Not able to post footage right now. It looks exactly how you would expect though--we usually shot with 1/60 shutter and there are no rolling shutter issues with lockdown shots and relatively short focal lengths.
 
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There is some nice interview footage in this piece. I am sure it is representative of what is possible with the right set up.

Look forward to seeing the finished piece when you are ready.
 
Elton said:
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This all looks like a well budgeted corporate shoot.
But when looking at your setup, I get mixed feelings.
I know the final product will look stellar.
But how did the various clients react, when you showed up with this DIY setup?
No matter how many things are attached to it - people will still see the bare DSRL in the end.
I wouldn´t hesitate to use this setup in any non-commercial or indie production, but for corporate work?
A pimped HVX still is very convincing if only because of its size.

With this setup I´d feel the need to explain to the client why we choose this tiny cam that looks like the one he got himself last xmas.
And I prefer NOT to get too technical with clients, but I make shure they know we´ll use the "big toys" for their production.
Maybe this all breaks down to the point where people chose the XL2 over the DVX, just because of its more impressive formfactor.

Anyway, please share your experience!:beer:

PS on that shoot at the hangar - are these Richards LED lights?
 
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