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As an owner/operator cameraman Daniel Haggett’s clients have to love his choice of camera as much as he does. Luckily they were fully behind him buying a Canon EOS C300 Mark II CLIENT CONFIDENCE

the Canon EOS C300 MkII, but the feature set of the camera offers other functions which could also be appreciated by other clients, like Log recording. “The Log options I do use a lot,” he says. “It obviously depends on clients and their budgets and how much time they have for a grade. Some clients have a lower budget or the need for a fast turnaround with something that looks nice straight out of the camera, you get that with the C300 Mark II. “In fact that was another reason I went for the camera. I thought it had a nice look without too much fiddling around but I also do regularly use the three different Log settings. It does make a massive difference in terms of dynamic range. As a freelance it’s your pictures that sell you to your clients, so if they are a little bit better than someone else’s you’re more likely to get the work. If Log helps you do that, then you need it. “Also, there were other little things with the camera that I didn’t

aniel Haggett is a London-based lighting cameraman who shoots documentaries, commercials and, increasingly, branded

content. He readily admits that when it comes to camera choice it is very important to include clients in the decision. “The decision is client-led at the end of the day,” he explains. “People maybe get too obsessed about numbers as in ‘what is the slomo frame rate, how fast is it?’ stuff like that. Really if your client’s not interested in using the camera there is no point spending out for it. “For me, I just liked the look of the Canon EOS C300 Mark II and that’s what pushed me towards it and the clients I had like it as well. In fact, a client I had who was also an editor had seen some C300 Mark II footage in the grade and he really loved what it could do. He wanted me to use the camera on a shoot and that made up my mind to get it.” As Daniel started to use the new camera he realised that the features would support him in all the areas he was shooting in and some he hoped to be in. “If you’re buying a camera these days you have to have some kind of 4K capability. Even if your final output isn’t 4K, people still like the flexibility in post, for instance when maybe they haven’t got two cameras on an interview and want the option of cropping in, they want to do whatever they want in post. As an owner/operator if you can’t offer that you may lose the job.” ENABLING FEATURES Every now and again Daniel will get a request for 4K which justifies

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