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#1 Deji Joseph

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Posted 28 July 2011 - 07:59 AM

I did runner work for a really low budget spoof/exploitation film the other day (straight to DVD/bluray), but i had a chance to talk to the camera crew. They were using two 5d mark IIs, CPZ primes, Canon primes. . The lights were 2 Kino flows and two LED panels. We had really poor lighting so we mostly shot vide open at T2.1 ISO 640. During the shoot the DOP and I were discussing and he said he would rather have a RED if they had more budget. I replied that i would rather more lights so we could stop down, apparently that wasn't a good answer, but I'm sticking to it. Which would you chose?

DJ
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#2 Phil Rhodes

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Posted 28 July 2011 - 08:04 AM

More lights.

You can shoot great-looking stuff now on a camera that costs £50/day.

You cannot shoot great-looking stuff with crappy production design, regardless of the number of stops of dynamic range on the camera.

P
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#3 David Mullen ASC

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Posted 28 July 2011 - 10:13 AM

I did runner work for a really low budget spoof/exploitation film the other day (straight to DVD/bluray), but i had a chance to talk to the camera crew. They were using two 5d mark IIs, CPZ primes, Canon primes. . The lights were 2 Kino flows and two LED panels. We had really poor lighting so we mostly shot vide open at T2.1 ISO 640. During the shoot the DOP and I were discussing and he said he would rather have a RED if they had more budget. I replied that i would rather more lights so we could stop down, apparently that wasn't a good answer, but I'm sticking to it. Which would you chose?

DJ


Well, just by switching from a FF35 sensor camera to a Super-35 sensor camera, you gain the equivalent of 1.5-stops more depth of field, plus you could rate the M-X Red camera faster than 640 ASA, so if all you wanted was more depth of field, I would go for the Red camera over the 5D.
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#4 Adrian Sierkowski

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Posted 29 July 2011 - 06:42 AM

I'd still go for more lighting; as phil says, to give myself more options, though more lighting and a red would be the ideal situation (i can't believe I just said that), Even forgetting being able to stop down more for more stop; having more lights give you the ability to create more lighting by having tools which give you harder beams, longer throws ect...
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#5 Marcus Joseph

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Posted 29 July 2011 - 08:05 AM

I think Matthew Libatique sums up this topic pretty nicely.

'But in cinematography, forget DSLRs, forget film, forget everything – it’s all about lighting and exposure. That separates the talented people from the untalented in storytelling. If you know how to light, you know how to expose.'
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#6 John Sprung

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Posted 29 July 2011 - 04:42 PM

I'd want both and more. More lights, better camera, more grip equipment and people to set it up.

But it depends on the project. If really crappy lighting is the idea of the spoof, then the camera could be the best place to spend the next dollar.



-- J.S.
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#7 David Mullen ASC

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Posted 29 July 2011 - 05:49 PM

My point is that if your only problem is a lack of depth of field, then stop using a FF35 sensor camera like the 5D, with all of its other problems as well, and use a better S35 sensor camera like a Red One. Seems silly to be fighting the shallow depth of field of the 5D if that's mainly what you don't want.
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