P Diddy, Dirty Money, Rick Ross - Angels Remix

Hey Guys,

When I get a QT version of the video I'll post it, but you get a good idea from the WSHH version. I've also seen some of the dailies from the other 7D video I did and I've learned a lot about the camera's strength and weaknesses.

Compared to the RED, the 7D is definitely heavily compressed and definitely has less latitude. The skin tones can be rendered in an incredibly narrow spectrum of colors. Especially if they are 1 stop over/under exposed.

Overall, for a quick run and gun system the images are amazing. Though I'm still going to be sticking with RED ACAM and 7D BCAM for bigger shoots.

There are a lot of places where the 7D worked on the Diddy video and there are some definite places IMO that its weaknesses show through.

Kholi: Hey, most of my clients, especially on the commercial side would never shoot 7D over the RED, D21, etc. Also any narrative project I'm bidding on is usually RED or film. 7D has its place but the basic on set workflow is very difficult and can despite its small form factor etc. slows everything down ... pulling focus, the monitor, batteries, mounting to jib/steadicam/etc. ... all of those things which are very easy on the RED can become a big time drain.

Your view on the music video industry are pretty spot on. There are just some projects that your life is just that much better by shooting with a 7D in a backpack than a RED in 10 cases and two magliners. Its obviously a generalization to say that none of the videos have progressed in creativity etc. but in general I definitely understand your sentiment.

The DSLR craze/fad etc. is a new frontier and I'm glad to be experimenting and learning new things. I'm not trying to find the next replacement for 35mm, RED, etc. but I am excited to try new camera systems and share the results.

See the process, see the results. Hopefully the info can help inform your next decision when shooting your own project. No one is here to say what is THE way to shoot or to predict the future of filmmaking.

:dankk2: :beer:

Matt
 
escozooz said:
C: We used the AV out cable and had one SD monitor for the jib and other remote applications. We didn't need multiple monitors really, but I suppose you might be able to split the HDMI signal or AV signal? I'm not sure, I do wish that we could use the screen and a SDI out at the same time.

RJ: I'll post a link on vimeo or on my site when I get a copy of the master. Yeah, when I see my videos on MTV, Vh1, FUse, BET, etc. I somtimes think they look better on Vevo or HD youtube.

M: Hey, I just did a video in Toronto at Pie in the Sky Studos last weekend. Small world. What ISO you determine to be acceptable is subjective. For a narrative or something that needs to stay clean I probably wouldn't go past 1000 iso. But for something like this project it was worth the added grain to be able to capture situations we wouldn't have been able to due to the low light level.

Also ... secret here .... we shoot at f4-5.6 a lot so we minimize the "everything's out of focus" look that a lot of 5D and 7D videos have. So having a higher ISO allows us to do that with moderate lighting.

False alarm with the BET premiere, oh well.

Cheers,

Matt
Click to expand...

yeah very small world. I have a good feeling one of my crew members from my feature worked that set.

I also agree on the everything out of focus issue at the same time f4-5.6 is the "sweetspot" so its nice to stay in that range.
 
Here is a little Behind the Scenes featurette ... shot with the Canon 5D and a Zeiss 50mm prime no less!

Behind the Scenes - Angels Remix
http://videos.onsmash.com/v/rmym8qgfULMK5WRL

You'll see some of the garage performance with the jib and some chaotic street scenes we did. None of the car or helicopter, I think most people were sleeping when we shot that stuff. :costumed-smiley-047

Cheers,

Matt
 
You must log in or register to reply here.
Back
Top