C500: Just bought "Need for Speed" on 3D Blu-ray for five bucks. What are the Canon scenes

Pascal Parvex

Pascal Parvex

Well-known member
Just bought "Need for Speed" on 3D Blu-ray for five bucks. What are the Canon scenes

to look for? Does somebody know what is shot with the C500, which parts with the 1D C? Main camera seems to have been the Alexa.
 
Lot's of information on Hurlbut's website. 1DC mostly car interior shots and crash cam, C500 all night and interior work, Alexa daytime exterior, I know the C500 was mostly used for the film.
 
https://www.youtube.com/watch?v=ThoC0ItwlVc

watched this many times. May need to freeze frame as it flies by pretty quick.

very hard to find info on movies shot with canon c-series cameras, so this is like gold :)

i believe the c500 was 12 stops, like the c100 MKII, so makes me wonder if you could make a film with a c100. Would love a c300mkii, but too expensice for a hobby. Heres hoping for a new c100 soon!
 
Fishflavour said:
https://www.youtube.com/watch?v=ThoC0ItwlVc

i believe the c500 was 12 stops, like the c100 MKII, so makes me wonder if you could make a film with a c100. Would love a c300mkii, but too expensice for a hobby. Heres hoping for a new c100 soon!
Click to expand...

all C line had same sensor. Its just canon C500 can do externally over 8bit and RAW.... the rest dont.

the only think it looks like its anamorphic, but canon cant do it... was it faked some how?

Last yes i participated in documentary that was filmed on two c300 shown on big screen in movie theater (i was 2nd operator) - looked really great!
 
Fishflavour said:
https://www.youtube.com/watch?v=ThoC0ItwlVc

watched this many times. May need to freeze frame as it flies by pretty quick.

very hard to find info on movies shot with canon c-series cameras, so this is like gold :)

i believe the c500 was 12 stops, like the c100 MKII, so makes me wonder if you could make a film with a c100. Would love a c300mkii, but too expensice for a hobby. Heres hoping for a new c100 soon!
Click to expand...

You definitely can make a film, one that doesn't look like a compromise, with a C100/C300/C500. This is just one example, but Blue Is The Warmest Color was shot on a C300 and a Canon 24-70. Blue Ruin was also shot largely on C300.

There are many more, but those are the ones I remembered off the top of my head. The thing is, this is a time in filmmaking where the camera is becoming less and less important. If someone can't make a compelling, engaging, nice looking film with a C-series camera or one of the Blackmagics or an older Red or A7s or a6300 any of the other "budget" cameras; the issue is not the camera. The writing, lighting, direction, sound and music won't magically be better with an Alexa/Zeiss package, right?

This is something that a lot of us struggle with, I think. I freely admit that it's something that I, myself, am only really beginning to internalize as a fact (even though I understood in theory). It's probably especially true for those of us who started with mini DV or earlier when the difference between what a studio had access to and what you could do WAS dependent on the gear to a large extent. I remember struggling with an HV20 to do simple things like locking exposure on it's built-in lens. Remember trying to get 24p at all? It trains you to associate gear and quality and chase that dream of being able to finally run with the big boys.

But this is a lie now.

Now someone who is new to this can grab a used Rebel, h4n and a couple of lenses and mics for a few hundred bucks and get decent results if they're talented. Look, if you want to compete with hollywood in terms of raw image quality, go out and buy a $30k Red Weapon or more on an Alexa; but if you want to tell a good story and have it look and sound professional, take that C100 (or any number of other cameras) and get to work. Just don't forget the great script, clean sound, good lighting, production design, music score and color grade.

I'm talking to myself as much as I am to you...
 
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