It was a challenging assignment even for a veteran shooter of car commercials. A major ad agency for a leading automaker asked cinematographer Dana Christiaansen if he could shoot three full commercials in 48 hours on the streets of Atlanta. 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. Christiaansen’s solution was to rely on the Canon EOS C300 digital cinema camera.
Canon EOS C300
Paul Rees, an experienced still photographer for globally respected advertising agencies and magazines, relied on his instincts as he transitioned to digital cinema to document the North American Eagle Project, a joint U.S.-Canadian initiative to challenge the world land speed record (763 mph, or Mach 1.02) for rocket-powered automobiles. Rees’ camera of choice for this task was the Canon EOS C300 digital cinema camera.
Shooting in northwest Chicago, within an old 1900s box warehouse for Lauren Santee’s music video, Let Down, provided some challenges for producer/director Kevin Otterness.
Great stories, in reality, aren’t the only ingredient needed to make a successful documentary. Filmmakers also need patience, perseverance, creativity, luck and, of course, funding. To say that co-directors Pamela Green and Jarik van Sluijs have a great story to tell is an understatement: largely unknown and unappreciated, Alice Guy-Blaché was, without question, one of the most important figures in motion picture history. Now, Green and van Sluijs are using digital cinema technology to gather, assemble and organize a wide range of information to get Guy-Blaché’s story ready for the big screen. And what a story it is.
When an action movie script on a tight budget included such challenges as close-ups of mixed martial arts fighting, a high-speed car chase shot from a low-flying helicopter, and low-light location scenes, director of photography, David E. West, knew the solution was to capture it all using a Canon Cinema EOS C300 digital cinema camera, a Canon EOS 5D Mark II Digital SLR camera, and EF-Series lenses. Having used the EOS C300 camera on a previous assignment, West was enthusiastic about its portability and low-light advantages. He also owned an EOS 5D Mark II camera, and was a fan of Canon lenses both for photography and for shooting reality TV. West decided from the outset that the ambitious visuals needed for Blunt Force, a new film from director Daniel Zirilli, would make this an all-Canon project. Shot on location in Mississippi, the movie tells the story of an ex-soldier imprisoned and forced to be part of an Internet cage-fighting club.
When shooting his recent independent feature Heads We Do, cinematographer Andrew Huebscher faced challenges including a tight budget, a 15-day shooting schedule, exterior night scenes, and the need for outstanding motion-picture image quality.