For as much as Shane Hurlbut ASC's name is ostensibly everywhere right now for all the wrong reasons (re: Christian Bale, 5D challenge, etc.), as a cinematographer I think he's extremely talented. The photography and camera work in "The Greatest Game Every Played" are very underrated and the futuristic look he gave to "Terminator Salvation" is both stunning and unique.
So assuming the exceptional talent that Mr. Hurlbut has, I think it's fair to say that the messianic 5D is actually responsible for these muddy, dull images. I don't doubt that it looks good, but it doesn't look great. Rarely do we get the opportunity to see a pro-sumer camera in the hands of cinematographers at the top of the industry but I have to admit I was largely disappointed with the overall flatness of these images.
Don't tell me it's the future of cinema....yet. Judge for yourselves:
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6 Comments
I agree it looks good but not great. With a DP of that caliber and with his track record we have to say its the camera. But like you said its a pro-sumer camera so technically its never going to look as nice as the pro digital cameras of today. What I think it does is give us an opportunity to still tell stories for a fraction of the cost and to an average audience member still looks great. As an audience member I like it because now I'll get to see different stories that I feel would not have been made or have been watchable if these cameras didn't exist. As a professional it means more work for all of us.
So I see were you are coming from on a technical standpoint but the reason we got into this business is to tell stories and I feel like this new generation of pro-sumer cameras give us a way to accomplish that without having a multi-million dollar budget.
Well said, Travis. I guess my greater point is this: when the material looks inferior even in the hands of someone whose ability is far superior to most, it's irresponsible to tout this camera as the future of cinema. It's definitely on the right path, but I don't think that "good enough" is an acceptable compromise.
Great point, I agree this system has along way to go. Especially when they start using a title like the future of cinema.
Shooting digital is TOTALLY different then shooting with film. Its much less forgiving.
The flatness might be simply in the color correct. I think the most important thing is the tool is there to service story telling. I want to tell stories and tools like the canon 5D allow your stories to visually compete with the style that has been drilled into our subconscious for over 100 years. There is a rawness a 5D can capture that a film camera just can't. This film is not taking advantage of that rawness in any way shape or form. Magic happens all the time, you catch glimpses of it while driving, at the beach, laying in a park. The key is to have the ability to capture that magic and digital allows this to happen. I can't imagine carrying a 35mm rig with you all the time, but I have no problem keeping my 5D with me all the time. Every tool has its strength, we need storytelling that pulls from the strength of this camera.
Making of is here
http://www.usa.canon.com/dlc/controller?act=GetArticleAct&articleID=3410
The highlights are a bit tame, but that seems like the grading not the camera. Looks like crap?? Gonna have to disagree with you. The beginning scene is murky but after that there's some fun stuff. Nothing too edgy but then the point of most of these camera demos seems to be showing off that the camera can do all the glossy things we expect out of film, REDs, etc. This is the most successful example of that I've seen so far.
The story, on the other hand, is whack as hell. Poor guy--his life has been one continuous raging cliche (his wife is fly but she could pull back the makeup a bit). I agree with Wonder Mike--let's see some stuff that plays to the camera's true strengths, i.e. the overall form factor and cheapness, rather than only fixating on what the chip can do (as important as a quality imager is).
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