“Any camera in the hands of an amateur is amateur, any camera in the hands of a professional is professional.” This common phrase, popular among filmmakers, is largely true, because a person shoots a movie, not a camera.
After choosing the artistic solution to the film, its style, the director of photography selects the desired technological solution for the implementation of the creative tasks of the director. An interesting, high-quality film image, in addition to the filming process itself, is based on three main parameters: camera selection, optics selection and image processing at the stage of color correction and post-production. All these components are closely related to each other and inextricably affect how the film will end up. Today we’ll talk about choosing a camera to create a movie. Continue reading
With the development of digital photographic equipment, two main trends are steadily observed – an abrupt increase in the resolution of CCDs and a gradual decrease in prices in each of the categories of cameras. However, there are a number of market niches in which the price remains the same, but at the same time there is a constant qualitative improvement in cameras. By “quality improvement” we should understand not only the increase in sensor resolution, but also the improvement of lenses, ergonomics, a set of service functions – in short, all that allows you to get good pictures without extra effort on the part of the user. In one of these market niches can be attributed cameras, the cost of which ranges from 200 to 300 $. In the second half of the nineties of the last century, for the amount mentioned, it was possible to purchase a product of a little-known brand from Southeast Asia, equipped with a plastic similarity to the lens and a CMOS sensor with a resolution of less than a megapixel, moreover, the manufacturer often considered the flash and LCD display to be an excess and did not equip their products. Continue reading
On the experience of using Canon C300 and C500 cameras when shooting documentaries
At the end of 2013, documentary director Vitaly Mansky and I began working on a picture of North Korea, “In the Sunshine.” Before that, we shot the film “The Trumpet” (2012) with him on the Canon 5D Mark II, and I also participated in the filming of his film “The Book” (2013), which used the Canon 5D Mark III camera.
When we started working on the film “In the Sunshine” it became clear that we had to look for a new camera. The fact is that in this picture Vitaly attached great importance to the expressiveness of the image and the general plans. Continue reading