A film celebrating the casserole of characters who make up Canterbury's unique restaurant and farmer's market. An everyday story of eating, drinking, dancing... and parking!
Well spotted. We were indeed shooting on the Cannon 5D. I'm not a techie so I can only give you my aesthetic assessment, which is, I love it. I know it was used on The Road To Coronation Street for the BBC and that there is a question mark over it's broadcast credentials but to my eye it is unquestionably good enough. In the hands of someone who knows what they are doing, like the superb Steve Buckland (the DOP on SOUP TO NUTS...) the results are truly sensational. That said, my feeling is that the 5D's first killer application is in docs, where it's unobtrusiveness and sensitivity to all light levels allow it to capture life in a genuinely new HD way. There is nothing in my opinion, technically, to stop you shooting drama on the 5D, the problem, if there is one, today would be more cultural. Actors, crew and production are attuned to wanting an "event" to surround the big camera on a drama set. The 5D doesn't really provide that, so where is the on-set "magic"? The 5D changes the on-set vibe but I think new technology like this is going to revolutionise film-making in the next few years.
Finally I would say this; technology like the 5D is giving the power to make films back to film makers. SOUP TO NUTS... is a personal project of mine which we are making to broadcast spec. Five years ago it would have been unachievable without proper finance, which would have meant selling the idea to a television exec who would probably have said no. Today the 5D means you can just get out there and do it. I didn't need permission or a budget. Which means if it fails its all my fault. Fine. It also means I can make the film I want to make to broadcast spec and it will live or die on it's own merits. I'll take that.
Thanks for your very detailed take on the 5d.Fascinating.I have heard of film makers adopting this over the past year and the 7d also using the HD movie option mode.
I shoot stills only but I would love to know more. How you are recording the sound? Keeping it in sync and can you edit the footage on amateur platforms like Sony Vegas or Adobe?
Roger Stamp recorded separate sound and we synced it the old fashioned way using a clapper-board. The on-board mic on the camera also helps Nigel Cattle, the editor to eye match the sound.
I don't know about cutting the material on domestic editing programmes. I've got Pinnacle on my home PC and I know it couldn't handle the file sizes but if you've got something a bit beefier with lots of memory, who knows. I’m not a techie. We're cutting on Avid.
canon 5d great camera how have you found it - is it okay for broadcast use?
ReplyDeleteHi Anonymous.
ReplyDeleteWell spotted. We were indeed shooting on the Cannon 5D. I'm not a techie so I can only give you my aesthetic assessment, which is, I love it. I know it was used on The Road To Coronation Street for the BBC and that there is a question mark over it's broadcast credentials but to my eye it is unquestionably good enough. In the hands of someone who knows what they are doing, like the superb Steve Buckland (the DOP on SOUP TO NUTS...) the results are truly sensational. That said, my feeling is that the 5D's first killer application is in docs, where it's unobtrusiveness and sensitivity to all light levels allow it to capture life in a genuinely new HD way. There is nothing in my opinion, technically, to stop you shooting drama on the 5D, the problem, if there is one, today would be more cultural. Actors, crew and production are attuned to wanting an "event" to surround the big camera on a drama set. The 5D doesn't really provide that, so where is the on-set "magic"? The 5D changes the on-set vibe but I think new technology like this is going to revolutionise film-making in the next few years.
Finally I would say this; technology like the 5D is giving the power to make films back to film makers. SOUP TO NUTS... is a personal project of mine which we are making to broadcast spec. Five years ago it would have been unachievable without proper finance, which would have meant selling the idea to a television exec who would probably have said no. Today the 5D means you can just get out there and do it. I didn't need permission or a budget. Which means if it fails its all my fault. Fine. It also means I can make the film I want to make to broadcast spec and it will live or die on it's own merits. I'll take that.
Thanks for your very detailed take on the 5d.Fascinating.I have heard of film makers adopting this over the past year and the 7d also using the HD movie option mode.
ReplyDeleteI shoot stills only but I would love to know more.
How you are recording the sound? Keeping it in sync and can you edit the footage on amateur platforms like Sony Vegas or Adobe?
All sounds very empowering!
This comment has been removed by the author.
ReplyDeleteHi Anonymous
ReplyDeleteRoger Stamp recorded separate sound and we synced it the old fashioned way using a clapper-board. The on-board mic on the camera also helps Nigel Cattle, the editor to eye match the sound.
I don't know about cutting the material on domestic editing programmes. I've got Pinnacle on my home PC and I know it couldn't handle the file sizes but if you've got something a bit beefier with lots of memory, who knows. I’m not a techie. We're cutting on Avid.
Thanks for your gracious reply look forward to seeing the completed film.
ReplyDeletewhere can i, or how can i view soup to nuts? thank you and happy new year.
ReplyDeleteHi ukcowgirl
ReplyDeleteFrom soup to Nuts will be finished on 4th January 2012. after that we will be organising screeings. I will post details here.
All the best...