Idiot’s Guide to 5dMkII Cinematography (UPDATED FOR CS5 & FIRMWARE 2.0.7)
by Rich on Aug.22, 2010, under Uncategorized
With so many new software and gear changes coupled with my continuing experience shooting with the 5dMkII, I have updated the Idiot’s Guide to 5dMkII Cinematography to reflect Adobe Premiere CS5 and the new 2.0.7 firmware. I have updated the guide to completely remove the Magic Lantern firmware option as it has been several months and still no updated firmware. I’m not giving up on Magic Lantern and Trammel Hudson’s efforts, but I realize that to use Magic Lantern professionally isn’t ideal because of the ability to use the firmware is interrupted with each Canon firmware upgrade. In professional settings…this is detrimental. So, my recommendation is to use a SYNC SOUND system…and I have come up with a painless and wonderful workflow and gear suggestions.
I have shot 3 short films and 1 feature film…along with numerous corporate projects and television commercials…completely on the 5dMkII. The following guide represents my recommendations for using this wonderful camera for cinematography.
Click on the guide’s cover here:
Adobe Premiere CS5 – Some useful tidbits
by Rich on Aug.18, 2010, under Uncategorized
I’ve had about a week to play with Adobe Premiere CS5, and I’m already greatly impressed by it’s speed and efficiency. I replaced my old Windows XP system with a new computer built by a friend to the optimized specs to which allows the Adobe video softwares to run the best. For those interested, the specs for my new system is as follows:
* Windows 7 Ultimate 64bit
* Liquid-cooled Intel i7 2.8GHz quad-core
* 24GB DDR3 RAM
* 2 terabyte internal hardrive
* NVIDIA GeForce GTX 285 Graphics Card (1gb RAM)
* LG 10X LIGHTSCRIBE SATA Blu-ray DVD CD Burner
* DVD burner with lightscribe
* 500w 7.1 Dolby Digital Surround Sound
* Adobe CS5 Master Suite
* Magic Bullet Looks color grading software, updated for CS5
* Signature IV CD/DVD/BluRay Color Printer
* Dual 26” Monitors and additional 42” HDTV
The folks at Adobe created CS5 with something called the Adobe Mercury Playback Engine, which basically performs some ridiculous graphics acceleration when used with a compatible NVIDIA graphics card like the GeForce that I use. You can scrub/play full resolution NATIVE HD footage and even 4k RED footage with multiple layers and effects without so much as a hiccup or stutter. Additionally, you can export out this footage in REAL TIME. Meaning if the film you’re editing is 2 hours long, it takes approximately 2 hours to render out.
Glitches
Let me first say that in comparison to Cs4 and even Final Cut Pro, Premiere Cs5 is a very streamlined and in many cases more efficient NLE to use. But with these benefits come a couple little glitches that I found (and are well known to other users on the Adobe forums) that will hopefully get fixed in the next update.
1) Render Time – The 2 Exporting Options
You have 2 choices when it comes time to export your project. You can opt to export the video file using Adobe Premiere, or you can choose to “queue” the export to Adobe Media Encoder. Exporting directly from Adobe Premiere is ideal for exporting an effect or small clip to re-import back into the project as it doesn’t open Media Encoder and all that to compete the export. Queuing the export in Adobe Media Encoder allows for the export/render to proceed while freeing up Adobe Premiere to work on other projects or just close down.
THE PROBLEM: When you export directly from Adobe Premiere, the rendering process apparently does not use the accelerated graphics, thereby forcing the render to take about 3-4 times longer.
THE WORKAROUND: Always export the video using Adobe Media Encoder. You can either “queue” the file from Premiere to AME or alternatively you can close Premiere, open AME, and import the Premiere project and continue the process.
2) Render Time – “Render Quality”
You have the option to select “use maximum render quality” when exporting.
THE PROBLEM: The render time is increase by as much as 4 times the necessary rendering time.
THE WORKAROUND: Don’t check it! Exporting at maximum render quality is only necessary when NOT using the CUDA accelerated graphics, and if your exporting video using a 10-bit 4:2:2 colorspace.
3) Proper Encoding of H264
If you want to export the video for uploading to Vimeo or Youtube, many people (including myself) export to H264. If you have a Sony Playstation, you should change the multiplexing to “PSP.”
THE PROBLEM: If you choose PSP you will notice that the resulting video is black video with no sound or just won’t play at all.
THE WORKAROUND: Change the multiplexing setting to “Standard.” You will need to find another way to convert this file if you want to play it on your PSP.
Adobe has come a long way since CS4 wit
PAID Casting Call: Male Lead in 5 day Horror Shoot
by Rich on Jul.10, 2010, under Cast & Crew Calls
Cooley Productions is producing a horror film to be shooting NEXT WEEK. Due to unforseen circumstances, the lead Male actor is no longer able to proceed. I am the Director of Photography.
Candidate will need to be available Monday the 11th of July through Sunday the 18th of July (2 days rehearsals, 5 days of shooting).
Qualified actors will receive $200-$400 depending upon their improvisational abilities and believabilty on film. Improv a must……emotions and reactions very desirable…We are looking for that Blair Witch acting style. Able to react to anything thrown at them. Film genre is a mix of horror & Sci-Fi
Early 20′s, attractive but original, not weird or sexy or unoriginal…..No drama queens or high maintenance persons please. We are shooting mainly at night on a ranch in Red Oak. Script will be discussed upon signing of “Confidentiality Agreement.”
Please submit your headshot, any link to reels/demos online, and your resume to:
casting@crookedpathfilms.com
Replay of my Webcam Broadcast Interview with Mitch on planet5d.com
by Rich on Jun.27, 2010, under Uncategorized
If you missed the live broadcast this Sunday, watch the replay. Featured on planet5d.com, Mitch interviewed me about my use of DSLRs and our recent inclusion on the shooting of the feature “Moon Ring” in Hot Springs which was shot all on 5dMkIIs.
My Interview on the planet5d.com Radio Show this Sunday
by Rich on Jun.24, 2010, under Crooked News
I wanted to let everyone know that I’ll be on the planet5d.com radio show this coming Sunday evening. If you’re not busy, would love for you to stop by and join us. You’ll also be able to participate via chat.
We’ll be talking about DSLR cinematography, geeking out about the technical aspects via my Idiot’s Guide to the 5d and seminars, but also talking about some of the projects being done on these cameras and the future of the technology.
Should be fun, stop by if you have time…and we’re looking forward to seeing you there!
Panasonic AG-AF100 4/3 camcorder SPECS LEAKED!
by Rich on Jun.22, 2010, under Of Interest
First of all, there’s one thing about this camcorder that I can’t get over. I’m not a fan of the Panasonic GH1, I think the quality of picture is what is most important and Panasonic just doesn’t have nuthin’ on Canon. This camera is most likely going to emulate the GH1, but hey, they had me at HD-SDI outputs for uncompressed recording!
Looking at these specs, I’m quite impressed. The SDI outputs being the most tempting, but factor in the variable framerates and conveniences that we’re used to on regular video cameras and I’m starting to calculate in my head how much a month I need to put aside until this baby comes out!
Two things that would prevent me from nabbing one up next year are:
- If Canon puts together a full frame 5d/video camera hybrid, and/or
- The AF100′s picture looks like the GH1′s…including those annoying vertical lines in high ISOs and the overall obvious picture quality (when compared to the Canons).
Enough of my talking…onto the good stuff!
Pluraleyes 1.2.2 (Beta 3) available for Premiere CS4 and CS5 users for FREE!
by Rich on Jun.17, 2010, under Of Interest
The software that helped final cut pro users automatically sync audio with their video is now available for Adobe Premiere users (PC) if you have either CS4 or CS5.
From the website: PluralEyes™ saves hours in post-production for multi-camera edits, dual-system audio or multi-take workflows such as music videos. It automatically synchronizes all your audio and video clips without the need for timecode, clappers or any special preparation.
Head over to the Singular Software website and download it for FREE! Look over the guide for any questions. There are known issues and bugs just like any other beta, but hey, it’s FREE.
Moon Ring – feature film shooting on Canon 5Ds
by Rich on Jun.17, 2010, under Project News
When I first heard of Moon Ring from the popular DSLR cinema site planet 5d, I was immediately excited. The film is being shot only 5 hours away from me in Hot Springs, Arkansas using all 6 Canon 5dMkIIs. Though not on the level of Twilight in terms of budget, Moon Ring shares some similar story elements that’s sure to be popular with the teen demographics (but NOT about vampires)…and is catching the eye of Hollywood studios because of its sole use of DSLRs and the benefits of doing so. It’s also the first feature length movie to be shot on the new line of Zeiss Compact Prime Cinema Lenses. The Director of Photography is Bruce Dorn, a Canon Explorer of Light, who also creates great DSLR products used on the production. You can read Mitch’s planet5d post about Moon Ring HERE.
Scott Loye, Director
Scott Loye, the Director of Moon Ring, told me in between scenes that the use of multiple cameras to shoot the various scenes drastically cuts down the production time, because they are able to shoot multiple angles of the scene without needing to move the camera for other takes like usual. Most productions use one camera to shoot a scene’s multiple angles and shots requiring the crew to move and setup the camera several times and run the scene in multiple takes each time. The cost of a fully loaded Red One camera is in the neighborhood of $50,000…where each of the 5dMkIIs with appropriate lenses and accessories is about $6000. Hence the ability to use up to 8 5dMkIIs for the same cost. Scott says this opens the doors for filmmakers to not only shoot a quality feature on a lower budget, but do so in a faster process hereby minimizing the costs that plague a one-camera shoot.
I was honored and flattered when Scott had me come up there this week for a few days and run steadicam (I use the amazing Indicam system…hands-down the BEST stabilizer on the market sans the “real” Steadicams) for the production. I wanted to share some experiences and observations working with the cast and crew of Moon Ring. As a dslr guru planning to shoot a feature film solely on Canon 5ds myself, I was very interested to see the challenges and the benefits to using these cameras on a feature.
Me with Bruce Dorn, Canon Explorer of Light and DP of Moon Rin
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The Cameras
All of the cameras used were 5dMkIIs, except for one 1d, which I didn’t see get used while I was there. I believe they had it there for a backup or a b-camera if they needed it. Bruce showed me that the cameras were all using the “neutral” picture file setting, with the saturation at -2 notches and the contrast all the way down. The sharpness and hue remained at the middle setting.
Being a professional film set, they had a sync-sound audio engineer (Dwight Chalmers) so there wasn’t a need to worry about the camera’s audio settings. Talking with Dwight about the 5d’s on-camera audio recording capabilities, he mentioned that he really liked the Juiced Link as an option for recording sound and that it really sounded great. I’m sure it’s not as good as the stuff we were using on Moon Ring, but still that’s good to hear from a professional sound man.
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The Accessories
The accessories being used were a real treat. Bruce had brought some of his products that is for sale on his IDC Photography site. The cameras were outfitted with his friction follow focus and viewfinder.
5d Standard Follow-Focus
5d Viewfinder
Quick Release: U-Boat Video Rig
I really liked the mini dolly with crank that he was using, outfitted with his U-boat Video Rig. The U-boat is a fantastic creation because it allows you to mount your camera to ANYTHING and also allow for ANYTHING to be mounted to it. This is great because we all know there’s a ton of stuff that needs to be attached to the rig at any given time. The dolly itself can have the U Boat attached to the bottom or top, and the track design is made with brackets that take 1 inch conduit available at any hardware store. Traveling? Pack up the track brackets and get the rails after you arrive. Want a different size? You’re only limited by the amount of conduit you buy. The Dolly isn’t available on his site yet, but here’s a picture:
Bruce Dorn's mini-dolly with hand crank. (U Boat Rig attached underneath)
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The Lenses
How awesome that the production got a hold of the new Zeiss Compact Cinema Lenses to use. All of them had f-stops of either f/2.0 or f/1.4. Bryan Stafford (1st Camera) and I talked about these lenses and about mixing them with the Canon L-series lenses. Right off the bat, replacing the L series with one of the Zeiss lenses made a noticeable difference in sharpness. The lines and creases on the actors’ faces were razor sharp when viewed on the production monitors using the 5d’s AF-assist blowup of the detail. These are indeed nice lenses.
The sharpness difference, however, wasn’t as extreme as I would have guessed…which tells me how great Canon’s L-series lenses are especially for the money they cost. They could have been intercut between each other except for the fact that the Zeiss produced a slightly different color gamut than the L series. Rather than worry about being able to make adjustments in post to compensate, the crew decided to solely use one brand of lenses per scene, depending on the needs of that particular scene.
What's attached to what here? The lens to the camera or the camera to the lens? 400mm Canon.
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The Workflow
The production was using Sandisk CF cards and a digital technician was on set offloading the cards onto a Mac laptop. The Director was able to instantly view the clips on the laptop’s decently sized monitor in between setups and scenes to determine if re-shooting was necessary.
Something I forget about when I’m shooting is the fact that this camera happens to be one of the best digital still cameras in the world! They took the official presidential portrait with it just a few months ago…why not take advantage of this? Bruce would take a photo just about every setup and angle. They have a beautiful hi-res raw picture of every shot which can be used for promotional materials like posters and one-sheets. Additionally, he also pre-visualizes the framing and exposure by taking a snapshot and showing the other cameramen or director.
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Other Stuff
Mitch Aunger and I at the condo before the shoot.
I was also pleased to be able to spend time with Mitch Aunger, founder and evangelist of planet5d.com. He flew to the set to get the inside scoop on this feature, and I’m looking forward to reading the details.
I may be a guest on his internet radio show soon…so keep an eye out for that. Mitch is a great guy and if you really want to most up to date DSLR information and news, planet5d is the place to go.
5d with a 24mm 1.4L setup on my steadicam.
Setting up for a shot in front of the Old Hot Spring High School
DP Bruce Dorn checks the shot and his assistant looks on.
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And THANKS to Scott, Sara, Bruce, and the whole cast and crew of Moon Ring for including me in this project.
Wishing them the very best of luck!
Update on Magic Lantern for firmware 2.0.7
by Rich on Jun.05, 2010, under Of Interest
It appears that the current beta of Magic Lantern isn’t working on the new Canon 5d firmware 2.0.7. I decided not to update to 2.0.7, because I rely too heavily on Magic Lantern benefits.
Here’s the message from Trammell:
I updated my 5D Mark II to 2.0.7 this morning and ran the old 1.0.7 based dumper on it. It is odd that Canon has not enabled any of the security features on the 5D’s firmware files, in light of their intense efforts to protect the 7D.
Attached is my preliminary IDC file for the ROM0.bin image (loaded at 0xFF80_0000, as usual).
I’m making my way through the 2.0.4 stubs.S file to locate the new symbol locations and hope to have an update beta for 2.0.7 sometime in the near future. My real job has been taking 150% of my time and I haven’t had any spare cycles to hack on any of my cameras. As Mark Twain said, the rumours of my demise have been greatly exaggerated.
Trammell
So a new beta should be up relatively soon. Until then, I recommend holding off on the 2.0.7 update until its ready.
Presenting the official trailer for “The Key”
by Rich on May.17, 2010, under Project News
It started one day when local actor Jim Blumetti happened to notice a page printed out on top of his home office’s printer. He read what was on it, not something he had printed out…but a short story written by his daughter (also an actor) Gabrielle. Instantly impressed by the story, Jim went on to adapt the story into a screenplay that has captured the attention of several people in the film biz including myself.
So began the journey of converting such a good story into something better…a movie!
We started shooting this short film in March 2010 and wrapped shortly after. We are in the post production process of editing, color grading, sound design…but are excited to get this trailer out for the world to see.
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