As part of our aim to strengthen the connection between us and our readers, we decided to give our talented audience out there a stage to express themselves and share their success stories in our new weekly TALENT FEATURE. We hope that with time, these guest posts will become a source of inspiration to our colleagues wherever they are. If you are interested in participating, please upload your video to our VIDEOLOG and follow the rest of the submission process by reading the information here. (Intro by Johnnie Behiri) I am a photographer and filmmaker based out of Delray Beach, Florida. I’ve been a cinephile since I was a small child and I attended a 16mm filmmaking program at NYU in 2007. Since then, I’ve worked for corporate and magazine clients in South Florida, including Maxim, Men’s Health, JetBlue, and Lynn University. I had a short documentary featured in the Miami Short Film Festival and Ft. Lauderdale International Film Festival in 2014 on the native Miccosukee in Florida’s Everglades. Overall I am trying to find the time to balance creative personal projects with professional ones, which is something I think most people in our business can relate to. Name: Justin Hearn Age: 34 Currently based in (country/town): Delray Beach, Florida Language(s) spoken: English Occupation: Senior Multimedia Producer for Lynn University, head of Hearn Studios LLC How did you get started in our industry? After film school, I offered to do free corporate videos for a couple of businesses I liked. With this small portfolio, I managed to get paying jobs and after a bit I was supporting myself. Current assignments? Last week I was granted permission to bring a full grand piano to the beach at sunrise. I was filming a Lynn University Conservatory pianist playing Ravel. The challenge with this project will be to get four separate takes of her playing synced with a studio recording of the 7 minute long piece. What types of productions do you mostly shoot? Documentary-style corporate videos, usually in one-man-band shooting scenarios. Staged photography for web and print. What is your dream assignment / job in our industry and what are you really passionate about? I would love to shoot the New York Times’ Op-Docs, or just be a working DP in the higher film and commercial industries. In the work that you are presenting us, now that it is done, what would you have done differently throughout the production? I would have spent more time lighting the final shots of the food at the end, and staged the students more in the cafeteria eating the dishes. If I had been able to get enough light into the kitchen for slow motion and a high shutter speed, I would have tried some Twixtor on the cooking shots – maybe on a pan flip or something. I also would have liked to have done a proper sit-down interview with the chef, but he was so busy that day that I could really only interview him while he was preparing food. What current camera, lenses and sound equipment do you use? Canon C100 Mark II, Canon XC10, Canon EOS 6D, Canon EOS M3. I go back and forth between a set of Canon 35 / 50 / 85 primes and their 24-105 and 70-200 L zooms depending on the job. I also have a Sigma 18-35mm f/1.8 and Tokina 11-16mm F/2.8. I use a RodeLink Wireless lav kit, an NTG 3, Rode SmartLav+, and Zoom H6 for sound. Canon cameras can’t usually compete on the spec sheet but the image always wins me over. Canon puts so much thought into how their cameras operate, and once you are comfortable with one it just gets out of your way and lets you get the shot. What’s is your favorite lighting equipment and why did you choose that kit over other solutions? Even though the technology is ageing rapidly, I refuse to get rid of my Lowel tungsten light kit. The color rendering of tungsten is just beautiful. For quick jobs I use LED lights like the Fotodiox flapjack. Do you use drones/gimbals in your productions? If so, what is the most effective why you’ve found in deploying them? Drone footage has to be used carefully – just because you are impressed by the shot does not mean it will hold the audience’s attention. I use a Phantom 3 Professional. I have a DJI Ronin but its enormous size prevents me from using it as often as I’d like. When I do get it to a location I am always amazed at the quality of the camera movement. What editing systems do you use? Premiere Pro CC on Mac. How much of your work do you shoot in Log and what is your preferred way of colour correcting? I always shoot in log absolutely 100% of the time. I find a flat picture style with the accompanying dynamic range boost is more important to me for a pleasing image than resolution. These days I am enjoying grading with the Lumetri color panel in Premiere. I usually use a film LUT of some kind to taste. How frequently do you travel and do you have any tips when it comes to packing your gear? I was sent to document study abroad classes in Europe for Lynn and I managed to pack the XC10, Canon M3, and sound gear into one sling backpack. When I would go out into cities I just had a padded messenger bag that I could put that day’s gear into. Worked out really well. My advice would be to pack as light as possible and don’t be afraid to compromise. If you want to learn more about Justin creative’s work, head over to his Vimeo page. Participate in our initiative: share your talent and creative work by following these steps.Read more
The recently released firmware update for the Canon C300 Mark II includes a couple of nice operational improvements as well as enhanced lens compatibility. Most importantly, however, it introduces of the new Canon Log 3 Gamma. A lot has been discussed about the capabilities of the Canon C300 Mark II. Sebastian’s findings in the lab published back in September opened up a debate about the actual usable dynamic range of the camera, which the manufacturer clarified in November. At NAB 2016, we had the pleasure of talking to Larry Thorpe, Senior Fellow at Canon, who talked to us about the upcoming improvements to the camera and the introduction of Canon Log 3. Watch this interview here in case you missed it: Larry Thorpe Announces Canon C300 mark II Dynamic Range Improvements from cinema5D on Vimeo. Well, July has come and gone, and the Canon firmware update is finally here. Here is a quick look at what version 188.8.131.52.00 has to offer. In addition to the new Canon Log 3 profile and low-light improvements for the existing Canon Log 2, operational improvements include magnification during recording and enhanced menu operations, retaining some settings when changing things such as frame rate. There are also many lens compatibility enhancements, including (from Canon’s press release): The following features are enabled when these lenses are attached: CN7x17 KAS S/E1*3, CN-E18-80mm T4.4 L IS KAS S or CN20x50 IAS H/E1*3. – Enables autofocus using the Dual Pixel CMOS AF function. (Not applicable to the CN20x50 IAS H/E1 lens) – Enables the joystick on the camera’s grip unit to be set to operate the zoom. – Enables control of iris to be set to manual operation, and control of focus, zoom and iris using the separately-sold Remote Controller RC-V100. – Enables automatic aperture and push auto iris functions. – Enables retrieval of metadata, such as the model name and the focal distance of the lens attached, and display of metadata on the camera, Enables Dual Pixel Function when these lenses are attached: CN7x17 KAS S/E1 lens, CN-E18-80mm T4.4 L IS KAS S lens or any of the EF cinema prime lenses. Adds peripheral illumination/chromatic aberration correction for the following lenses: – COMPACT-SERVO lenses: CN-E18-80mm T4.4 L IS KAS S – CINE-SERVO lenses: CN20x50 IAS H/E1 – EF lenses: EF 35mm f/1.4L II USM, EF 50mm f/1.8 STM and EF-S 18-135mm f/3.5-5.6 IS USM. Similar lens-related improvements have also been added to a new firmware update for the Canon C100 Mark II, although unfortunately no Canon Log 3. You can find the upgrade and installation guide for the C300 Mark II here. Also be aware that there is a new handbook for the camera available in the download section in PDF form. Have you upgraded yet? How is that shiny new Canon Log 3 working out for you so far? Let us know in the comments below!Read more
The competition never sleeps. Canon seems to have realized this well-known business fact as the Japanese company just has dropped the prices of their Mark II lineup of EOS cinema cameras, namely the C300 Mark II and the C100 Mark II. A $4,000 price drop for C300 Mark II When it was introduced the Canon C300 Mark II was a whooping $15,999 camera body. It has its strengths and certainly the camera has its weaknesses, but in the end it was (and is) a remarkable piece of technology and a well-thought-out evolution to the original C300. Check out our coverage on this camera here (review), here (pros & cons) and here (lab test). Thing is, most users including myself found the camera way too expensive to buy. As of today, you can get the camera body for a significantly smaller amount of cash as it is listed for $11,999 at B&H. For our European readers it’s also available at CVP for €9,525.09. That’s $4,000 less than the original price. I have a strong feeling that Canon is trying to get in the realm of a RED Raven and a Sony FS7 with this price drop. And it may be that the company is even peering in direction of the Sony FS5 and the Blackmagic URSA mini, which is why the C100 Mark II got the price drop treatment too. And a $1,500 price drop for C100 Mark II The C100 Mark II is quite a good camera (make sure to check out Johnnie’s review) but it lacks some advanced features and definitely shows some weaknesses when it comes to bit depth and choice of codecs. Anyway, it’s a better deal as of today if you want to keep the price down. For $3,999 (body only) it could be yours and that’s quite a deal, I think. EDIT: As some of our readers have mentioned in the comments, the price for a C100 Mark II already has been reduced some time ago. Just to be sure, please note: the $1,500 price drop only applies to the original $5,499 (suggested retail price). Alternatives I’m a huge fan of Canon’s signature color science which produces very pleasing skin tones right out of the box. On the other hand, Sony is very competitive when you study the pure specs of their lineup of cinema cameras. The FS5 is more expensive than the C100 Mark II –well now it is– and it has some very neat features built in, such as the variable ND filter. In order to get proper intra frame codecs and a post-friendly bit depth, you’ll need an external recorder for both cameras, though, such as the Odyssey 7Q+. The URSA Mini is well ahead in this race, but it lacks, in my opinion, one fundamental feature: built-in ND filters! It’s a shame, but without these your workflow will be slowed down significantly. At the other end of the affordable cinema camera spectrum you’ll find the RED Raven. It’s $6,950 but we all know you’ll end up well beyond $10,000 if you actually want to shoot with it. Conclusion Well, it’s always the same: you’ll have to decide for yourself which camera package suits your needs best and which specs are made for you. Variable ND is your thing because you are moving fast, run & gun style? Get a FS5! Need a proper codec for serious post production? Maybe a C300 Mark II or even a RED Raven is the right tool for you! With the price drop on the Canon lineup the decision doesn’t become any easier at all, but you’ll end up with more choices. And that’s always a nice thing to have! What do you think? Have you already made your decision on buying a new camera? Which one will it be?Read more
Now is a good time to pick up a Canon C100 Mark II. B&H has announced a $1000 saving on the updated entry-level EOS Cinema Camera. A similar but larger price drop has occurred with the original Canon C100 also where you can now pick it up for just $2,499. Here are the savings: Canon EOS C100 Body Only was $3999. Now $2499 Canon EOS C100 Body Only with Dual Pixel AF was $4499. Now $2999 Canon EOS C100 Mark II Body Only (Dual Pixel AF as standard) was $5499. Now $4499 I was naturally intrigued when I first picked this news up from No Film School; Canon usually reduces their cameras when making way for a new addition. With the quite frankly exhausting speed of Sonys advancements in new affordable camera releases, Canon is falling behind with their camera bodies from a spec list and cost perspective. It’s grown speculation as to whether we’ll see another EOS Cinema Camera appear this year that sits between the C100 and C300 cameras. This price drop maybe a little premature in assuming the path is making way for another new camera however; B&H are listing this as an Instant Savings deal, one that could well mean the price will hike back up to its original soon. Usually a permanent price drop looks less like a sale; I’ve checked other US resellers and they are presenting the price drop in a similar temporary deal-like fashion. Some consider Canon as a non-contender in the race to the best affordable large sensor camera. Their DSLR division has long abandoned any advancements in video technology for fear of harming the EOS Cinema Cameras, whilst the flagship line itself looks like a little light in terms of specification v cost. However one thing’s for sure, they are a true workhorse. Whilst under spec’d against competition they work straight out of the box (without a firmware or two to get the image working as to how it should). It seems that the price drop won’t stick around for too long, so now maybe the time to get a good deal. The same reductions are applying to packages including accessories and lenses, check out the full list here.Read more
We already posted my side-by-side of the new Canon C100 Mark II and the Mark I a few weeks ago (click here if you missed it!). My conclusion was that while the Mark II isn’t an earth shattering upgrade to a very decent camera, it clearly is a very well thought-through upgrade that addresses many of the issues that users had with the original. The C100 Mark II doesn’t do 4K, which still is the constant buzzword in the industry, but Canon really did listen closely to its customers.Read more
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