ADVERTI SEMENT FEATURE | CANON
EASY FULL FRAME POST Last month, Ember revealed how it captured a Netflix trailer with the new full frame Canon EOS C700 FF, but how did it perform in post?
HELPING THE BUDGET It’s also very quick to change over shooting in these different file formats; in fact it’s just a couple of menu changes. Codex footage is recorded on their own drive and Super 35 can be recorded internally on CFast cards. So, from a productivity point of view, on-set you are not hampered by recording everything on one media; you can switch very quickly. Your DIT station can therefore be more effective as it’s not just waiting on one set of cards even though the quality is extremely consistent between the two. “The Canon EOS C700 FF is still very good at delivering that Super 35 resolution, so not only can you offload quicker but, technically, you don’t need the Codex recorder. Obviously if you’re at full-frame, you need the Codex and the quality is great, but the files are large so you decide when to use it,” explains Jonathan. “What we found was that we used the full frame and the Codex on certain scenes. For instance, in wides where we needed the detail. For other shots, we went to Super 35 as we didn’t need to consume the detail of the wides. We used it quite effectively that way, so a lot of the time our decisions were informed by post and because of the time it would take to offload the rushes, back up and get ready to shoot the next scene.”
IMAGES When editing and grading, the C700 FF helped speed the process up, with no compromise on quality.
AS WE SAW IN THE LAST ISSUE, the mechanics of shooting with the Canon EOS C700 FF worked very well for Ember’s Netflix trailer, but how did it help the data wrangler and then further down the line with the edit and grade? We caught up with Ember’s MD and main DOP, Jonathan Jones, to find out how easy the process was when it came to completing the project. “We shot in lots of different resolutions, from the Super 35mm sensor up to the full-frame Raw with Codex recording on the back of the camera,” says Jonathan. “What is really special about the C700 FF is that you can acquire your images, ultimately, in these different resolutions – 16mm, Super 35mm and up to full frame. When you need to shoot in different resolutions, sometimes those decisions can be made because of your post route or because you know you have to offload a certain amount of footage by a certain time. “So you might choose to shoot Super 35mm rather than full-frame, because the file size and the way it’s recorded is very different. For instance, if you’re doing a long interview would you really decide to shoot it in full frame? You probably wouldn’t, and it’s likely you’d go Super 35mm. You’re not compromising on quality; it’s just a different file format.”
“The purpose of the whole shoot was to put the C700 FF through its paces, so we had lots of different looks and feels, and it graded very well.”
42 DEF I N I T ION | NOVEMBER 20 1 8
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