Follow the journey of a young man as he discovers the importance of being grateful.
We put together this short project for the Fatherhood CoMission video contest. fatherhoodcomission.com
FILMED ON:
Canon C100 MKII (C-LOG)
- Canon 70-200 L f/2.8 IS
- Canon 17-55 f/2.8 IS
Edited and color graded in Adobe Premiere
In June I had the privilege to produce and direct the filming of the next Creation Proclaims series with Dr. Jobe Martin and his family. I was able to take a crew of five crew members with me to California where we were filming at an animal sanctuary with the Martins and Dan Breeding. It was a growing and stretching experience in many ways, but God was very good to us and answered many prayers during the week!
We used two Canon C-100s along with my Canon 60D as a 3rd cam for animal close-ups. Alex Lerma, Andrew Garcia, and Micah Austin did a fantastic job as the camera ops.
We rented a small lighting package from a local company for the project. I was super excited to have Philip Bolzeman as the Gaffer/Grip along with Micah Austin who pulled double duty between grip and cam op.
Joseph Santoyo was our on-set sound man, and did a great job even amids the squawking birds, howling coyotes, and planes/helicopters flying around!
Due to the heat and wind in the afternoons and staying ahead of schedule, we were only filmed in the mornings after the first day. On one free afternoon we were able to take advantage of being on the west coast and took a trip to the Cayucos beach! However it was rather windy and the water was super cold...but we had a relaxing and enjoyable afternoon!
We also had some seafood at a local restaurant which had been recommended by some friends.
It was indeed incredible!
During the week we also had some fun with Lemurs!
Here are a few still images from the footage we captured!
When the videos are released DVDs will be available at the Creation Proclaims website. They also have other resources and episodes already in the series.
Tight budgets mean Matrix-style montages for public-broadcast documentaries are rarely done. But somehow the team at DokLab did it – and they tell CPN writer Mark Alexander how they used 50 EOS-1D X DSLRs to pull it off...
There is a childish glee that overtakes us all when we set eyes on a new piece of kit. As pristine packaging carelessly falls to the floor and a spotless lens or gleaming camera body emerges, our anticipation gives way to unreserved delight. It is a wonderfully gratifying – and unashamedly geeky – moment...
If unconditional joy is the consequence of opening one new box, imagine what Dodo Hunziker and Pierre Reischer went through as they unwrapped 50 EOS-1D X DSLRs and 50 EF24-70mm f/2.8L II USM lenses ahead of what would turn out to be a momentous day’s filming.
“We approached Canon to see if 50 cameras and lenses were available to do this shoot,” explains cameraman Reischer, who didn’t specify which DSLR he required when he first enquired. It was lucky they made the request when they did, as usually Canon does not have this number of bodies and lenses available. But in this case, there were a few days of opportunity for the shoot, before Canon's preparations began for the World Athletics Championships in Moscow. “It was like ‘wow’. This is the top model. We were going to shoot with 50 of them - it was just crazy,” Reischer recalls. The enormity of the task, and the challenge of getting to know Canon's flagship DSLR intimately, was dawning... (Read More)
This is a highlight reel of my favorite clips from my trip to Haiti in 2013.
- If you like the video, please consider "liking" and/or commenting on the Vimeo page.
Filmed with the Canon C100 using C-LOG
- Canon 70-200 L f/2.8 IS
- Canon 17-55 f/2.8 IS
Also used Kessler Philip Bloom Slider
Edited and color graded in Adobe Premiere
You can see the original video here Missions in Haiti.
This is a short promo I filmed in Haiti for the Mission Ministries Team of the Arkansas Baptist State Convention.
Filmed with the Canon C100
- Canon 70-200 L f/2.8 IS
- Canon 17-55 f/2.8 IS
I also used a Kessler Philip Bloom Slider as well.
Edited and color corrected in Adobe Premiere.
Article by Stu Maschwitz
Canon has announced the Canon 70D, availble for pre-order at Amazon and B&H for $1,199.
On one hand, this camera, with its flip-out LCD, new sensor technology that allows better live-view autofocus, and built-in WiFi, seems to be the heir apparent to the APSC HDSLR throne.
On the other hand, it’s hard not to feel that Canon is updating their DSLR line as slowly as they feel they can get away with.
I like what Mike and Jason had to say on the RC podcast #132—essentially, one has to hope that we’re nearing the end of hoping for accidental improvements to the video capabilities of low-cost stills cameras.
The Canon 70D looks to be the best camera you can buy for DSLR video, and yet it’s impossible to get to excited about it.
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Review from Engadget - Looking to capture professional-quality video on the cheap? You've probably considered a DSLR, but for many users, an interchangeable-lens camera might not be the best pick. Camcorders and higher-end video rigs typically offer far more powerful autofocus capabilities, and while Digital SLR footage can look great, if you're not tweaking the lens manually, things might not go as smoothly as you'd hope. Canon's setting out to change that, with its brilliant new EOS 70D. On the surface, this 20.2-megapixel camera doesn't venture far from its 60D roots, but internally, it's an entirely different ballgame.
At the core of the 70D's modifications is what Canon's calling Dual Pixel CMOS AF. Essentially, the sensor includes twice the number of pixels in an (very successful) attempt to improve focusing. There are 40.3 million photodiodes on the sensor, and when they're all working together, "it's like 20 million people tracking the focus with both eyes," as Canon explains. The result is camcorder-like focusing for both stills and video, when you're shooting in live view mode. During our test with a pre-production sample, the device performed phenomenally, adjusting focus instantaneously when snapping stills, and quickly but gradually when recording video.
Canon's expected to ship the EOS 70D for an estimated $1,199 in September, body only. It'll also be available with two lens options: an 18-55mm STM kit will likely retail for $1,349, while an 18-135mm STM version should come along with a $1,549 MSRP. Pricing is unconfirmed at this point, hence the noncommittal phrasing, but reps seemed fairly confident in those figures. The 60D will be discontinued, but the 7D will remain on the market -- for a while longer, at least. Still, if you're looking for a DSLR primarily for shooting video, the 70D is where it's at.
....click here to read the full Engadget article.
This is the introduction from a very good article from Phillip Bloom's website by James Miller about an interesting technique called "Lens Whacking." If you don't want to bother with creating the technique in-camera, he has a set of post productions presets...that are on sale this week! Details at end of post.
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James Miller is a talented guy. Apart from designing a lot of my graphics and the background for this site he has been my right hand man on many of my UK shoots. Having a talented shooter as your right hand man makes your life so much easier. He has become synonymous with “lens whacking” which he explains about here. You can see more of James’ work on his vimeo page here. One bit of advice. This is a great and cool effect. But like all effects use them in moderation for the most impact! - Phillip Bloom
When a cameras lens is fixed firmly to a camera the only light falling on the sensor is through the lens. Thats great most of the time and when you want something different you can either add effects, layers, overlays in post. Or you can remove your entire lens.
- Read the Full Article Here -
Here are a couple of examples of James' work and what the effect looks like when done with a camera.
James also sells a set of presets that he calls "5DLeaks" that can be added in post.
A while back I posted about a graphics design package I did for the Journey Reunion weekend conference that our family helped put together in 2011.
Recently I was able to complete the highlight video for the Reunion! Thoughts, questions, and critiques are welcome.
In case any filmmakers are wondering, this was shot with the Canon 60D and edited in Adobe Premiere.
Article by: Chad Stembridge
“It’s the best filmmaker’s DSLR out there right now.” – Stu Maschwitz.
There’s a reason he said that.
To date, I’ve had opportunities to shoot on four different dSLRs: the D5000 (we’re not even gonna go there…*shudder*), 7D, T2i, and now, the 60D (I sold a DVX and bought one a couple weeks ago). A few months ago, I compared the 7D and the T2i. The 60D fits in between the two, in price, size, and features. Well, on a lot of features.
But let’s not jump the gun. First off:
The 60D has the same APS-C CMOS sensor as the 7D, and, like its little brother the T2i, has only one DIGIC-4 processor (the 7D has two). And unlike its little brother, it shares the same control the 7D has in regards to ISO (100-6400, expandable to 12800) and shutter speeds (up to 1/8000 sec.).
Like the T2i, it records to SD, SDHC, or SDXC media. The 60D’s between the 7D and T2i when it comes to still frames per second, able to shoot at a little over 5 fps, compared the 7D’s 8 fps and the T2i’s 3 fps.
As for as the size, it’s just slightly smaller than its big brother, and definitely bigger than the T2i. I love how the 60D feels in my hand—my hands are bigger than many people’s, so the T2i feels too small to me. The 60D doesn’t have as much of the bulk and weight that the 7D does, but still feels good.
Okay, enough of the comparing specs… Video’s what we’re interested in.
About 10 hours after my 60D (and Canon EF-S 10-22mm) arrived via UPS, I left to help shoot an outdoor-adventure documentary in Florida. My 60D definitely got a trial by fire. Here’s why:
I was primitive camping out in the wilderness for almost 6 whole days (hehe…besides the night we got rained out), the main shooter out in the woods with a father as he put his son through a rite of passage. There was a wide gamut of shooting environments and situations to deal with, from warm Florida days to cold nights, extreme low light, bright sunlight, forest, brush, dust, sand, dew, and water. Lots of water. Including rain, flash floods, and a 16 mile kayak trip (and yes, I did have the 60D with me on the river).
There are two big things that set the 60D apart from the others. One, the flip-out LCD. Two, manual audio controls.
I’ve shot with the 7D. I know how hard it is to see the fixed LCD on the back, especially when the camera needs to be in an awkward position to get the best angle.
Enter the 60D and the flip-out screen. Enough said.
Most of that data displayed on the screen in the photo above disappears once recording starts, but it’s super nice having that histogram displayed for setting up shots. There’s also the option to show the camera level display, instead of the histogram.
With the manual audio controls, one can theoretically record high quality audio directly into the camera. The onboard mic isn’t too terribly bad, if it’s in the right shooting environment, but almost any other mic is going to be able to capture better sound. There’s still no way to monitor sound while recording (no onscreen meters, and no headphone jack), but manual control is a step in the right direction for Canon.
I attempted plugging my Audio-Technica AT-897 into it via an XLR to 1/8″ adapter, and that was a no-go. After researching the problem online, turns it that the in-camera amp on the input messes up the incoming audio if there’s no pre-amp, which caused it to come out as a bunch of garbled hissing.
After ditching that idea, I went with the on-board mic quite a bit (which was surprisingly not that bad)—and then discovered that one of the lapel mics we had with us actually worked. I’m not sure what it was about it, but I was able to record clean audio directly into the camera using the mic…I’m guessing it was perhaps due to the mic going through the receiver first (which has a pre-amp?). I’m not sure why it worked, but it did.
It’ll take more experimenting to figure out a setup that gives as good results as plugging an XLR mic into a camcorder, but I think it can definitely be done. For now, I definitely wouldn’t trust the internal mic for any kind of narrative stuff, but for documentary or capturing reference audio for later syncing, it works fine.
As with the 7D, many of the controls on the 60D are on the outside, not buried in a menu. That makes it much more friendly than the T2i. My only complaint about it is that the Manual Mode and the Movie Mode are way too far apart on the mode selector dial…Almost on opposite ends, and there’s only one way to go around.
Taking a quick glance at the back of the 7D (here, and here), then looking at the 60D (above and right), there’s not too much of a difference. The 60D is missing the dedicated button for white balance on the top, as well as the custom function button next to the top dial. But it retains the back scroll wheel, which is extremely useful in my opinion.
I think the 60D also improves on the back scroll wheel, in that it combines the selector button with the wheel and center button (the 7D has a joystick control just above the wheel).
Because of the flip-out screen, there aren’t any buttons on the left side like the 7D has. Canon did a smart move in putting the delete button far away from any other buttons on the 60D; it’s directly to the left of the viewfinder, below the mode selector dial and power switch.
Though it’s also missing dedicated buttons for picture styles, RAW/JPEG, and white balance, all of those important things can be quickly accessed using the Quick menu, which has a dedicated button directly above the scroll wheel.
The 60D performed amazingly well. It didn’t matter if it was during the day in full sun, kayaking down the river, or at night with the only light source being a lantern or campfire… Even shooting at super high ISO speeds. You naturally expect noise when your lighting is a dim campfire, shooting at ISO 3200. But believe me, there’s a big difference between doing that on the 60D, and doing it on a run-of-the-mill HD camcorder, even a prosumer-grade one. That big sensor is a HUGE advantage.
And of course, I’m shooting flat.
Click on the thumbnails to the left to see full-sized screen captures from three video clips: (top) fireside talk, campfire as the only light source (using Canon 10-22mm @ f/3.5, ISO either 3200 or 6400, can’t remember which); (middle) hiking, near-noon sunlight (using Tamron 28-200mm @ 200mm, ISO 100 I think); (bottom) and my brother, single incandescent bulb (using Pentax 50mm f/1.7, ISO 100).
Though it’s a CMOS sensor with a rolling shutter, I didn’t run into any real problems caused by that…The only hint of a problem was shooting at the long end of my Tamron 28-200mm. It’s not a very stable lens when it’s extended out that far, and a bit of jello would happen sometimes if there was a lot of wiggling going on. Despite this, I was able to get solid shots at 200mm.
The 60D can autofocus during video recording, but I don’t recommend doing it. For one thing, it’s not continuous autofocus; when you half-depress the shutter button to focus, it does the normal hunt-for-focus thing it does when you’re shooting stills. For another thing, it causes the video recording to glitch until the focusing is finished.
Because of its size, the 60D was the perfect camera for a project like the documentary in Florida. It was completely portable, lightweight, rugged, and gave a very good image (shooting with both the 10-22mm, and Tamron 28-200mm). I was extremely pleased with its performance.
Quick little blurb about the lens I bought with it…Originally, I was going to go with the Tokina 11-16. But I wavered for a day or two, then finally settled on getting the Canon 10-22mm, and was very happy that I did. It’s a very sharp lens, produces accurate and pleasing color tones, and it’s super wide!
I also got a Fotodiox Pentax K mount to EOS adapter, so I can use all my Pentax glass. So far, that’s worked quite nicely. The only issue with it has been that every once in a while, the video will randomly flicker slightly darker for a frame or two…Not sure what’s causing that, but I’m thinking it could have something to do with the dandelion autofocus confirmation chip…
Before we finish up, here’s a quick narrative-style test video I shot with my Mom and brother. Yeah, it’s cheesy, but I wanted to shoot a scene with the camera…
Shot mostly with the Pentax 50mm f/1.7 @ ISO 100, with one shot using the Canon 10-22mm @ 12mm, ISO 500 (I think).
The Card Game – 60D Test from Chad Stembridge on Vimeo.
There’s definitely a reason why the 60D is being called the best dSLR for professional video. Looking back, I’m quite happy with choosing it over the others. It’s definitely worth the extra money over the T2i, and unless the added photo features are needed for pro stills work, it beats out the 7D for video.
It’s well built, is capable of making great images, and provides the needed manual controls for any type of shooting. In the words of Stu:
“If you’re shopping for a DSLR right now, for the primary purpose of shooting video (being familiar with all the pros and cons), what you want is the Canon 60D.”
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Article by: Chad Stembridge
Article by: Stu Maschwitz
If you’re shopping for a DSLR right now, for the primary purpose of shooting video (being familiar with all the pros and cons), what you want is the Canon 60D.
I felt compelled to write this because the 60D seems to get left out of the conversation a lot, and it shouldn’t. It’s the best filmmaker’s DSLR out there right now. People still ask my which they should buy, the 5D Mark II or the 7D, and when I recommend the 60D, I sense resistance. How is it possible that a sub-$1,000 camera body shoots video as good as one costing $600 more?
The 7D is a great camera, and it was the first HDSLR to offer a smattering of useful frame rates and manual control. It also is a Canon, so if you were a 5D Mark II shooter, a 7D was an easy body to fold into your kit. I bought one the day they became available, and encouraged you to do the same — arguing then, as I still believe today, that the APS-C sensor size — while not as luxuriously huge as that of the 5D Mark II — is a perfect size for filmmaking, being a close match to the Super35mm film frame.
The sensors of the 7D and the 60D are the same size, but with the 7D you’re paying for a best-in-class APS-C stills camera, which you may or may not need. It has a more advance autofocus system than the 5D Mark II, a weatherproof metal body, and dual DIGIC 4 chipset for rapid-fire motodrive. If you’re not a serious stills shooter, these features are overkill. They have no affect at all on the camera’s video performance.
Still, the 7D got lodged in the hearts and minds of not only shooters, but their clients. Everyone knows the 7D.
Then along came the Rebel T2i and the 60D. Both have almost the exact same video features as the 7D (with one notable exception, as you’ll read in a moment). The 60D even has a handy feature that the 7D lacks: manual audio level control. But more importantly, the 60D alone has something I routinely wish my 7D had: an articulating LCD screen.
This single feature is enough reason to recommend the 60D. Quite simply, it’s painful and often impossible to shoot video with an HDSLR without an external monitor. While the amazing Zacuto Z-Finder is great for shoulder-mounted work, if you’re like me, you often shoot at something other than eye-level. A flip-out LCD has been on my HDSLR wishlist for a long time, and we finally have it with the 60D. And by the way, you can use the Z Finder with the 60D, as shown here.
I don’t have a 60D (yet) or a Rebel T2i, but everyone I’ve spoken with who has done comparisons says the video from the three cameras is nearly identical. So here’s my recommendation:
If you are just getting started and are on a budget, sure, consider the Rebel T2i. Do not, under any circumstances, buy it with the kit lens. A year ago the only SLR worth shooting video with was $2600. You just got one for $750. Take the extra money and buy some fast lenses. At the very least, get a thrifty fifty.
If you are a serious amateur or aspiring-pro photographer who doesn’t care about full-frame or “real” pro bodies like the 1D Mark IV, and you also want to shoot video, the 7D is a great camera. And it is worth noting that the 7D does have one advantage over the 60D: The 7D outputs an HD signal through its HDMI port while recording, while the 60D, like the 5D Mark II and Rebel T2i, outputs Standard Definition. If your primary shooting mode will be with an external HD monitor such as the SmallHD DP6, the 7D will give you a better signal for frame and focus.
The 5D Mark II remains an awesome stills camera hampered only by an aging autofocus system, and it shoots lovely 24, 25 and 30p video with better low-light performance than any of Canon’s APS-C offerings, including the 60D. Its full-frame sensor allows beyond-cinematic depth of field control. The 5D lacks 50 and 60p modes though, and costs a lot. It’s entirely possible that your heart and photo soul are screaming at you to own a full-frame DSLR, and if that’s the case, of course the 5D Mark II is great. But it’s no longer the king of the video hill unless achieving the shallowest-possible depth of field is your top priority.
If you are specifically interested in video, and stills are a nice feature but not your raison d’être, get the 60D. You’re basically paying the difference between the Rebel and the 60D for manual audio levels, the flip-out screen, and the (occasionally reported) possibility that the 60D is slightly less prone to overheating than the Rebel. It’s a great camera for a great price, and the articulated screen alone is worth it. Again, just say no to the kit lens.
If you’re already a Canon shooter, remember that while the 60D shares batteries with the 5D Mark II and the 7D, it uses SDHC cards instead of CF. I’ve put together a 60D Cine page on the ProLost store to help you get your kit going.
Using a DSLR for video a compromise. In addition to the technical limitations we’ve discussed here at length, the time-honored form factor of the SLR just wasn’t made for movies. The 60D takes a big step toward fixing this. To me, this matters a lot. The 5D Mark II shot you blew because you couldn’t see the LCD well enough to focus is worth nothing compared to the 60D shot you wrangled from an angle.
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