Source:Below the Line
Which camera would you choose to shoot three full commercials in 48 hours?
The spots would include nighttime car-to-car photography of a moving vehicle, close-ups of a celebrity spokesman at the wheel and scripted vignettes. It was a challenging assignment even for a veteran shooter of car commercials.
The job was entrusted to Dana Christiaansen:
“We shot a series of lighting tests on a little greenscreen stage of a young girl with fairly dark skin, a color chart and a black flag,” Christiaansen said. “We shot the ISO right on up to 20,000 in these steps – 800, 1600, 3200, 6400, 12800. The latitude test was shot on a backlit latitude chart. I had 13 shots of detail. We took that EOS C300 camera data back, processed it at the studio and were amazed by how good it looked on their big projection screen.”
Working in a production style Christiaansen called “lean and mean,” he and his director averaged 50 to 60 set-ups per day (and night) shooting with C300 cinema cameras in both hand-held and Steadicam configurations.
“The EOS C300 camera has such incredible low-light sensitivity and such great image quality at 3200 ISO, we were able to shoot in almost any environment as long as there were street lights or something that gave us some ambient light,” Christiaansen explained. “The more lights there are – like storefronts and shops and interior lighting – the better it looked. We walked around using battery-operated LED lighting and two small 125-watt HMI par lights. We didn’t need a load of camera cars following us around with big generators, cabling and a bunch of gear to light up the streets.”
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