CANON | ADVERTI SEMENT FEATURE
FULL-FRAME EFFECT Brett uses Canon prime glass. He shot most of the commercial on his C700 FF using the 35mm lens, but the aerials were shot on his C200 using the 14mm lens. “I love that lens for aerials,” he says. “It’s got very straight verticals, it doesn’t bend at all at the sides and it was great for shooting big scenery.” “I wanted to get the landscape. As much as I love tight shots and drop-out focus, I wanted to capture the feeling of being in the desert, in the middle of nowhere. That’s what the Canon prime 14mm lens got us and it works nicely with the car.”
IMAGES The full-frame format gave the background gorgeous drop-off bokeh
Brett comes from a stills background and, like a lot of photographers, is a lover of the full-frame effect. “I know full-frame is a bit in vogue right now, but I do think it gives you differentiation in your imagery,” he says. “Talking mathematically, you’re supposed to be able to take a Super35 format and make it look full-frame by playing with the depth-of-field. “I used to shoot 10:8, 5:4, 1:20 35mm stills and there’s just something about that bigger format that makes the images have a beautiful look about them. I think it’s the same with motion and full-frame.”
Brett concludes: “The full-frame format on the Canon EOS C700 FF gave the background this gorgeous drop-off bokeh and the car separated off from it nicely. It has this milky, almost dream-like look about it and it works really well for the commercial. I didn’t do much to it in post, it’s just how the file is.”
MORE INFORMATION: Visit canon.co.uk/pro
MARCH 20 1 9 | DEF I N I T ION 37
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