Frequency Top 25

Description

I received my C300 last week and invited over Rick Macomber (@Boston_Camera) of Macomber Productions and Mike Murie (@notesonvideo) of the excellent Notes on Video blog to play around and take some test shots. But test shots are boring. Why not put a story together? We quickly pressed Mike into service as our actor, came up with a quick story in 30 minutes, and then with the 4 hours of light we had left in the day, went out shooting. This is what we came up with, which was edited and completed the next day. It's a message about our economy, our veterans, and more. ... Normally I don't talk about what tech I utilized, but this is a C300 test so I will this time. I may blog about the experience or talk about it with Mike and Rick on someone's site or podcast sometime soon. Canon Cinema EOS C300 camera obviously was used. We used it handheld with just the built in EVF and grip, and also on a slider and sticks with the full monitor setup. The waveform monitor is a godsend. It was difficult judging white balance in the setting sun however, even with the EVF, because we shot C-Log the whole time. The camera has a View Assist LUT but it isn't foolproof. Lenses used were the Canon EF-S 17-55 F2.8 IS (the lens hood can come slightly into the frame at 17mm so be careful) which had useful IS for handheld shots, the Canon 70-200 F2.8 IS II, The Tokina 11-16 F2.8, the Canon 100mm F2.8L IS Macro, and the Canon 50mm F1.4 USM. Sound was all recorded foley effects on a Zoom 4HN with a Rode NTG-2 in the backyard, except the gunshot. Music by the talented and giving Kevin Macleod from his website. Locations were in Haverhill MA, and Salem NH. Kessler gear supplied by me (opening shot is a programmed Oracle/Elektra Drive slide) and Mike Sutton for full length pocket dolly. Graded in Magic Bullet Looks. Edited XF Codec natively from the cards using Adobe Premiere Pro. It was pretty fast and rendered out very fast (as compared to AVCHD). The only place codec fell apart was when I took a nearly white shot (one of the ECUs of the face in the beginning) and crushed the tones severely. You may or may not notice it over the Vimeo compression. The download file is encoded at 10Mbit 2 pass VBR. The original render out file is ProRes 422.