Is it possible to make a GOOD FEATURE FILM, with the 7D?

You planned on stretching it ?

Most of the shots are overexposed.

Darn Awesome ?

hmmmmmmmmmmmmmmmmmmm


Sigh young grasshopper
 
J.R. Hudson said:
You planned on stretching it ?

Most of the shots are overexposed.

Darn Awesome ?

hmmmmmmmmmmmmmmmmmmm


Sigh young grasshopper
Click to expand...

realy You think so.. I Shot handheld with the Custom made Vari ND. I tried to Not Overexpose using the Meter on the camera. Mind you I just began shooting film /video 3 months ago so for me, Its a Learning Curve. good to KNow
 
J.R. Hudson said:
You planned on stretching it ?

Most of the shots are overexposed.

Darn Awesome ?

hmmmmmmmmmmmmmmmmmmm


Sigh young grasshopper
Click to expand...

the Video At 58 seconds I can see when you might think its overexposed but actualy we were Completely covered in Cloud and Mist on top of EL Yunque rainforest the Natural Eye could not see past it,, It was a White out
 
This topic comes up a lot, "can I shoot a feature with... ". I would suggest that you shoot one scene with the 7D. If it comes out the way you want it then you can answer your question about a feature.

It doesn't matter (IMHO) what camera is used. I like asking myself this question. If I had funding, a 35mm film camera, full crew and great actors would my story make a great movie? Something that people will pay money to see.

Before video bad movies were shot on film.

I watched the original Psycho a few nights ago. I'm sure the 7D would have done a fine job of that script.
 
Last edited:
Only saw 4 or 5 shots that were slightly over exposed because of objects in frame being completeyl blown out, but for the most part exposure looked decent.

Yeah, whats up with the stretching? heh.
 
Dan_Kanes said:
First 7D Feature...Ever:

http://www.youtube.com/watch?v=1jexirR8VnY

High Key 5D feature Comedy:

http://www.youtube.com/watch?v=32sEE2PMMvQ

skin tones are a little weird blah on the second one (had my picture profile set up for too low of saturation). Neither has ANY color correction applied.
Click to expand...
Looks good, I think. Like you say, it needs color correction, but I've seen worse looking films at festivals in competition that already had been color corrected.

Since this is an indie filmmaker forum, I'm not mentioning any titles. =P
 
PaPa said:
Only saw 4 or 5 shots that were slightly over exposed because of objects in frame being completeyl blown out, but for the most part exposure looked decent.

Yeah, whats up with the stretching? heh.
Click to expand...


I guess nobody Like the (psudoAnamorphic) look Huh?? Oh well, I was Playing with the feature in Vegas. you guys Must have some Nice wide screens already!!
 
I have been a fan of DVXuser for many years and have learned a lot from you guys. But the 7D thing is so strange to me. I went to NAB the year Jannard showed the Peter Jackson short and fell in love and I can't even imagine how incredible the Scarlet is going to be.

However, I am a representative of the micro-micro budget filmmakers, the filmmakers who will be giving plasma and picking up odd jobs over the course of months to put a 7D setup together. I'm not sure that I have the strength to do this to myself every time I write a new script that I love. So I want to own my equipment.

I understand what people like Barry Green say and I take them seriously for their insight and experience. I have been writing, acting, and working on films for years. But circumstances matter, you could write something incredible, it may or may not get you recognized. There are, I imagine, many writers and directors who simply lack the connections to get more resources behind their projects. The 7D for people like me is an inspiration, not a miracle maker, but a real inspiration.

Ultimately, I am going into my purchase of the 7D with my eyes open, but having read the posts from people like Rodney Charters and Phillip Bloom. I have no doubt that you could make an excellent feature film in terms of visual aesthetics with the Canon 7D.

Just my humble perspective.
 
Guys lets stick to the original thread.

Guys lets stick to the original thread.

All due respect Speedjunkie this thread is not to show your footage, there is a section for that. Take a look at some things Phillip Bloom has shot and compare your footage and shooting to his or others that were done really well on Vimeo.
Again dont take this the wrong way but you have a long way to go before you call your stuff "Darn Awesome" solely based off of what we saw from your vacation video.

We were talking about mainly shooting advantages with the 7D or 5D as opposed to renting a Red One and all its components.
 
moviemaykr said:
All due respect Speedjunkie this thread is not to show your footage, there is a section for that. Take a look at some things Phillip Bloom has shot and compare your footage and shooting to his or others that were done really well on Vimeo.
Again dont take this the wrong way but you have a long way to go before you call your stuff "Darn Awesome" solely based off of what we saw from your vacation video.

We were talking about mainly shooting advantages with the 7D or 5D as opposed to renting a Red One and all its components.
Click to expand...

Kay, I think the primary differences, which aren't many, are these:

Focus Pulling: Need to have an AC that can pull without marks, off of a screen, and he should be able to see the screen at all times. Also, Cinema Glass versus Still Glass for Focus Pulling? Yuck. Most Still Glass breathes like crazy, it's not very attractive. You'll also have to build out for a follow focus.

Mattebox: Can't imagine who would shoot without NDs. For a longform shoot, screwing NDs on and off of lenses is more time consuming than switching a lens and snapping the mattebox in place. Those extra seconds equal extra minutes and possibly extra hours spent on production. Time = Money when you don't have any. Also, Typical Mattebox application won't work. Still Lenses rotate, extend, transform when you focus. So, you have to shift the mattebox, etc etc. Pain.

Weight: If you're doing handheld you can't go without weight or a slow IS lens. There's no way around it. You cannot shoot handheld with this camera and not expect a real audience to puke from motion sickness.

Subpar Image: You have to AVOID (time consuming) Moire and Aliasing, for one. Then, once you get beyond that, Jello. Jello's not really a big deal to me, but Moire and Aliasing blown up on a large screen will look like crap. And, I'm talking like a 46" LCD. You should at least be shooting for Hi-Def distribution, or what's the point? This is THE major bug. Honestly, if the DSLRs got over this I don't think anyone would really argue if they were good to go or not.

So, on paper it doesn't look "that bad" but in production, it really does get terrible. You have to figure out all of these ways to do what a real camera already does, and of course that takes time. I guess if you're going to shoot a feature over the span of a year then it's a different story. You've got time to learn and burn, then reshoot.

For Ryan: SHOOT IT UP!
 
Last edited:
sandygroundfilms said:
Ultimately, I am going into my purchase of the 7D with my eyes open, but having read the posts from people like Rodney Charters and Phillip Bloom. I have no doubt that you could make an excellent feature film in terms of visual aesthetics with the Canon 7D.
Click to expand...

One thing to keep in mind is that neither of these men have shot an entire film or television episode with the 7D. This has all been about little takes here and there that have allowed them to get a shot where the "full package" rig would have been impracticable.

We don't have Bloom getting rid of his EX/Letus package, neither do we have Shane Hurlbut shooting the entirety of Terminator Salvation, or Charters shoot an entire episode of 24, on HDSLRs. That would be impressive. But no, they are being used in specific circumstances.
 
Kholi: I would say those are the primary drawbacks, rather than the primary differences.

The primary advantages are:

If this is your first feature film as a director or you just simply haven't shot on anything more advanced than a regular DV camera before, shoving up a couple thousand dollars to rent a RED ONE for four to eight weeks is about the cinematic equivalent of learning how to shoot by duelling Billy the Kid.
In comparrison, buying a 7D six months before Production and learn how to work it is like purchasing a gun and practice it shooting bottles until you're ready to go up against Billy and avenge your father (or whyever you would do something like that).
Then, if you're in a jam financially, you can sell your 7D and get a lot of money back or go take care of Jesse James.
If you rent a RED you can't sell it and you can't go after Jesse James because Billy the Kid will have killed you.

Major difference, my friend.

Another advantage to 7D is that while it may not be a Winchester, and it may not be a Smith & Wesson - but you can shoot accurately enough with a Colt and there's no shame in having one because the only thing that really matters is you hit that guy before he hits you and if buying a Colt is the only way you can practice shooting them bottles before going up against Billy the Kid, I say go with the Colt.

As far as weight, handheld and focus pulling is concerned - if you see that as drawbacks, that's kind of like saying your gun doesn't work because you've got the wrong ammo. What you need to do is get the right ammunition that works with your gun - in other words write a story and a screenplay that fits your equipment.
I wouldn't try to shoot HERO with a 7D any more than I would try to shoot buckshots with a pistol. I might try to shoot BOURNE though (not with a pistol, but with a 7D).
I'd definetly shoot BAD TASTE or EVIL DEAD with a 7D rather than a RED.



But in all honesty, the problem with this question: "Is it possible to shoot a good feature film with the 7D?" is that we can argue endlessly about how it's absolutely possible.
But it's gonna be impossible to prove you can't shoot a good feature film with a 7D because you can't prove a negative anyway.

Is it possible to shoot a good feature film with a RED? How long is a rope?
 
JavaExMachina said:
If this is your first feature film as a director or you just simply haven't shot on anything more advanced than a regular DV camera before, shoving up a couple thousand dollars to rent a RED ONE for four to eight weeks is about the cinematic equivalent of learning how to shoot by duelling Billy the Kid.
Click to expand...

Which is why you budget for a DP (or a good AC at least) who has that experience.
 
JavaExMachina said:
Kholi: I would say those are the primary drawbacks, rather than the primary differences.

The primary advantages are:

If this is your first feature film as a director or you just simply haven't shot on anything more advanced than a regular DV camera before, shoving up a couple thousand dollars to rent a RED ONE for four to eight weeks is about the cinematic equivalent of learning how to shoot by duelling Billy the Kid.
In comparrison, buying a 7D six months before Production and learn how to work it is like purchasing a gun and practice it shooting bottles until you're ready to go up against Billy and avenge your father (or whyever you would do something like that).
Then, if you're in a jam financially, you can sell your 7D and get a lot of money back or go take care of Jesse James.
If you rent a RED you can't sell it and you can't go after Jesse James because Billy the Kid will have killed you.

Major difference, my friend.

Another advantage to 7D is that while it may not be a Winchester, and it may not be a Smith & Wesson - but you can shoot accurately enough with a Colt and there's no shame in having one because the only thing that really matters is you hit that guy before he hits you and if buying a Colt is the only way you can practice shooting them bottles before going up against Billy the Kid, I say go with the Colt.

As far as weight, handheld and focus pulling is concerned - if you see that as drawbacks, that's kind of like saying your gun doesn't work because you've got the wrong ammo. What you need to do is get the right ammunition that works with your gun - in other words write a story and a screenplay that fits your equipment.
I wouldn't try to shoot HERO with a 7D any more than I would try to shoot buckshots with a pistol. I might try to shoot BOURNE though (not with a pistol, but with a 7D).
I'd definetly shoot BAD TASTE or EVIL DEAD with a 7D rather than a RED.



But in all honesty, the problem with this question: "Is it possible to shoot a good feature film with the 7D?" is that we can argue endlessly about how it's absolutely possible.
But it's gonna be impossible to prove you can't shoot a good feature film with a 7D because you can't prove a negative anyway.

Is it possible to shoot a good feature film with a RED? How long is a rope?
Click to expand...

This is all subjective and not mechanical working fact, though. I'm talking about shooting, not romanticizing.

And, I'm definitely not arguing, by the way. Hate when it comes off like that. You can shoot a feature with a cellphone. I'm talking technically, again, not idealism.
 
You must log in or register to reply here.
Back
Top