Is it possible to get lowlight footage like COLLATERAL and ZODIAC on a DSLR?

Ian-T said:
Personally, I think you can get that same look with the DSLRs. Mann likes using low shutter speeds during night shots. You can see it clearly (no pun intended) in Miami Vice whenever there is quick motion in the scene. Film cameras don’t (can’t) do that….so it gives the video camera an advantage. Couple that with the already low light advantage of the DSLRs and I don’t see why you couldn’t get a similar type of shot (without cranking up noisy ISOs).
Click to expand...

Thanks Ian! Whan are you going to post more footage on Vimeo? I really liked your 7d test!
 
Justin M said:
Don't know if this helps but I shot this over the weekend using the Canon 7d and the 50mm 1.8 lens. The exterior scenes on the street were all available light, 1250 iso. Maybe this is kind of the look you're going for.

Click to expand...

Great work Justin! Love that 50mm 1.8! Will definitely start with that and then maybe get the Sigma 30 1.4.

Have you tried lighting with a china ball/chimera lantern for outside shots? David Fincher said they shot 10 weeks straight on ZODIAC without "proper" film lights, but mainly chimera lanterns, often with just one over the actors heads.

Am going to watch it again!
 
Last edited:
ChipG said:
I'd go for a 5D over a 7D for the Mann look at night, he used a deep depth of field for those night shots, you are going to be at an f8 or more on a 5D. Then run it through a noise reduction program, Neat Video is not bad for noise reduction (if your on a budget) if you don't over do it, to much and your images look like plastic.

Off topic I ran into Mann when he was in KC at a steak place here (he was by himself in town on biz) and shot the shi* with him for a good hour. Nice guy. Since Miami Vice was my favorite series as a kid that's all I asked him about and the Miami Vice movie.
Click to expand...

Thanks Chip! Can't really afford the 5d :( Yes, he did have a deep DOF didn't he? I'll be sure to check out Neat Video.

You lucky b*stard running into Mann! I assumed he would be a pretty unapproachable, tough nut - or is that just on set!

All you spoke to him was about VICE? What a waste of an hour! LOL:grin:

One of my favourite directors.
 
Last edited:
Ben_B said:
Assume you've read this?

http://www.theasc.com/magazine/aug04/collateral/page1.html
Click to expand...

Yeah, but thanks!

They put COLLATERAL through the DI at only 1K as oppossed to most movies at 2K, to give it a grungier look. I personally am trying to get a cleaner, more ZODIACish look, but some parts I'd like to go grungy.

Probably not a good idea for a low budget filmmaker to make a movie that a lot of people don't like the look of (my wife thought COLLATERAL looked like a "home video"!)
 
Last edited:
Futchibon said:
Great work Justin! Love that 50mm 1.8! Will definitely start with that and then maybe get the Sigma 30 1.4.

Have you tried lighting with a china ball/chimera lantern for outside shots? David Fincher said they shot 10 weeks straight on ZODIAC without "proper" film lights, but mainly chimera lanterns, often with just one over the actors heads.

Am going to watch it again!
Click to expand...

Thanks! I have not tried lighting with china ball. I mostly do interviews and other documentary type b-roll so I only have access to that style of lights (fresnels ect.). Narrative work is more a hobby. I'd love to try one, although on this particular shoot we didn't even have access to power so it had to be available light. I was very happy with what the camera could do. I hope you can find the right equipment for you're film, good luck.
 
Well if you finished film school youll know that Zodiak and collateral were shot with lots and lots of light, not darkness.
But they made it look dark, with lighting, in post and filmtype.
 
But...I've always thought they still needed to light that movie properly. Some of those scenes were too dark to me. As good as that camera is one would still need lighting.
 
flame2bits said:
Well if you finished film school youll know that Zodiak and collateral were shot with lots and lots of light, not darkness.
But they made it look dark, with lighting, in post and filmtype.
Click to expand...

The cabs were filled with LEDs. Again, people should read the ASC Magazine article linked above.
 
You must log in or register to reply here.
Back
Top