Absolutely. The MKii is not just for a one-man show and really has nothing to do with the size of the production. If there is a certain aesthetic or benefit to the camera, it really doesn't matter how large or small it is.
Where is all the narrative footage?
- Thread starter Kholi
- Start date
Absolutely. The MKii is not just for a one-man show and really has nothing to do with the size of the production. If there is a certain aesthetic or benefit to the camera, it really doesn't matter how large or small it is.
morgan_moore
Major Contributor
Those would be the
examples
.. maybe we cross posted
As someone who employs two people I really consider the cost of people - more than a Red a year each - from that perspective the red is a cheap camera and the 5d virtually free - thats the bunsiness perspective I imagine
The title of the thread is 'where is the narrative' - I think the answer is above/below....
S
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Lee Wilson
Veteran
Tautology is not 'self-contradiction', it the stating of the same thing twice, but in differing words - ie: 'He gripped the camera by squeezing it with his hand' - where 'gripped' is already understood as to squeeze with the hand.
morgan_moore
Major Contributor
I thought a tautology was a bright red green thing
any way
It would appear there are two meanings one from Boolean Algebra (mine) and also a linguistic one (yours)
http://en.wikipedia.org/wiki/Tautology
We are both right
- lets move on..
S
any way
It would appear there are two meanings one from Boolean Algebra (mine) and also a linguistic one (yours)
http://en.wikipedia.org/wiki/Tautology
We are both right
- lets move on..S
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Oh, I must have missed that post Morgan, excuse me.
Yeah, the RED is pretty cheap right now what with no film costs and telecine - everybody is shooting their features with it now. I'm glad I didn't have the money to buy one when it came out though, shooting with just one camera - the same camera - all the time would be a major drag! So nice to have choices
Yeah, the RED is pretty cheap right now what with no film costs and telecine - everybody is shooting their features with it now. I'm glad I didn't have the money to buy one when it came out though, shooting with just one camera - the same camera - all the time would be a major drag! So nice to have choices
morgan_moore
Major Contributor
When you take your 5d to the turkey market in marakesh at 5 am in glowing morning light you squeeze off a load of footage with a wide open prime of the old boys at the auction haggling
80% of the footage is out of focus or shaky - the remaining 20% looks utterly fantastic - completely amazing
You use that 20% to make your travelogue and impressive it is too
Back home you have to shoot a corporate, the first shot is a grumpy MD arriving in the car park and walking into the office
The guy is paying you and he has only got five minutes before his first meeting - you want to get it in one take
You grab the EX1 sharpish unless you have balls of steel and hands of silk
Thats the difference between travel and narrative
S
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Rakesh Jacob
Veteran
That's where I've been screwing up, I've been doing hands of steel and silky balls!!
Who knew :dankk2:
taubkin
Veteran
I've been shooting some narrative stuff with it for some time, now. This is what I can show so far:
http://www.puntotjet.com.br
http://www.cocacolazero.com.br/prove
(second is in portuguese only, and the compression kind of ruins it, but the originals are looking great... )
But, honestly, for narratives, you can just rent a Red or something else... this thing really shines on docs. Small, great lowlight, looks great in ambient light, gives you different framing choices.
http://www.puntotjet.com.br
http://www.cocacolazero.com.br/prove
(second is in portuguese only, and the compression kind of ruins it, but the originals are looking great...
)But, honestly, for narratives, you can just rent a Red or something else... this thing really shines on docs. Small, great lowlight, looks great in ambient light, gives you different framing choices.
taubkin
Veteran
I've been saying this for some time now, before the 5Ds or D90, back then, when all we had was a Redrock 35mm adapter and a DVX100.
But with manual controls, you can shoot some pretty cool stuff on it, not only b-roll. And be guaranteed that it will work out. There's a production in the company I work for that is using the 5D exclusively for a 6 week doc shoot. And the material is great.
If a shot is out of focus, you can cut to some well focused coverage from that same scene and deal with it, but when a whole scene just looks like crap and you have to use it because it's never gonna happen again, it hurts sometimes more. There is no rule obviously, and there are some pros and cons to every equipment choice, heck, I, sometimes, still shoot tape.
Jackson Miller
Well-known member
Hmmmm. Can't you just stop down to make it easier to focus? I am starting to get worried. I am just about ready to get one, and now I am reading people think it isn't usable for narratives.
cjwolff
Well-known member
I'd like to know the answer to this as well. Is there any reason I can't expect the following to hold true?
Focal length 18mm
f/5.6 : DOF from 4.44 feet to 40.6 feet
f/8 : DOF from 3.75 feet to infinity
f/11 : DOF from 3.07 feet to infinity
f/16 : DOF from 2.45 feet to infinity
f/22 : DOF from 1.9 feet to infinity
Focal length 28mm
f/5.6 : DOF from 6.01 feet to 11.9 feet
f/8 : DOF from 5.45 feet to 15 feet
f/11 : DOF from 4.82 feet to 23.6 feet
f/16 : DOF from 4.14 feet to 122.4 feet
f/22 : DOF from 3.45 feet to infinity
Focal length 55mm
f/5.6 : DOF from 7.38 feet to 8.74 feet
f/8 : DOF from 7.14 feet to 9.09 feet
f/11 : DOF from 6.84 feet to 9.63 feet
f/16 : DOF from 6.45 feet to 10.5 feet
f/22 : DOF from 5.98 feet to 12.1 feet
You can certainly stop down to match DOF characteristics, FOV can be controlled my choosing appropriate lenses.
You just have to be aware of what happens when you stop down, concerning lens abberations, performance, overall changes to image aesthetic, color reproduction, and of course light.
If you have to stop down to match an S35 spec (I would suggest using slower glass to begin with) then it's not all that much "fast" anymore. Of course, you can and will probably use higher ISO's, which now you must reconsider the impact of those on the iimage.
In short, yes you can, but you should find out what it does to your overall image before committing.
You just have to be aware of what happens when you stop down, concerning lens abberations, performance, overall changes to image aesthetic, color reproduction, and of course light.
If you have to stop down to match an S35 spec (I would suggest using slower glass to begin with) then it's not all that much "fast" anymore. Of course, you can and will probably use higher ISO's, which now you must reconsider the impact of those on the iimage.
In short, yes you can, but you should find out what it does to your overall image before committing.
William_Robinette
Shallow Member
Because currently everyone is super obsessed with strapping on a f/1.4 50mm and shooting WFO.
You don't (normally) shoot that way for narrative. Of course creative decisions aside, if I was shooting a narrative piece (dollys/jibs/actors moving) then I would want to be anywhere from f/4 to f/8, and you have much more room to work with there. This camera seems so sensitive that shooting stopped down isn't a problem.
Also remember a lot of people that will pump out footage from the 5D will probably not have the budgets from great locations or a competent art department. And we all know the simplest solution to these problems is to blur the background out so much so the viewer cannot tell.