Here’s Shane Hurlbut’s old, but still relevant, 5D Mark II video on getting the best out of the DSLR:
Read his notes here.
Creative Cow has a case study writeup of how Canon 5D Mark III delivers quality, mobility, and low-light capture for the indie feature “Cold Turkey”:
“We primarily shot close-ups on the 135mm and 85mm primes. For wide and medium shots the 24mm and 35mm primes tended to be used for most of the movie.”
Canon zoom lenses Graham used on Cold Turkey included the EF 24-105mm f/4L IS USM and EF 17-40mm f/4L USM ultra-wide zoom. “Our Steadicam footage all used the 24-105mm zooms,” he revealed. “Anytime I’m on Steadicam – if I can get a camera with a Canon EF mount – that’s generally the lens that I use. It cuts really well with any other lenses that you may be using, and you don’t have to rebalance every time you want to just swap lenses.”
Graham found that the combined low-light capabilities of the Canon EOS 5D Mark III Digital SLR camera and the Canon L-Series prime and zoom lenses enabled him to use fewer and smaller lighting instruments than would ordinarily be needed for such a film. This not only provided the look he sought for Cold Turkey, it also increased his ability to place his camera where he wanted it, and to make his actors more relaxed.
“It’s nice not to need lighting right on top of the actors,” he noted. “We even were able to take advantage of some of the available lighting in the house. Also, instead of having to hang units, we were able to replace regular light bulbs with photofloods, which really made the whole process much easier. I think the biggest lights we used on the entire show were 2 to 2.5 HMI’s. It’s pretty amazing to be able to shoot an entire feature – with night scenes – and have those as the biggest heads you have to carry.”
Read the rest of the writeup here.