In my previous post about our first independent feature film I touched on the subject of using technology to help ensure high production value while at the same time allowing us to keep our production costs down.
One of the ways we’re going to be doing this is by shooting our film on the Canon 5d Mark II and the Canon 7D. These two cameras offer exceptional image quality and both handle well in low light environments. Unlike other video cameras in their price range, they also allow for interchangeable lenses (including Nikon lenses if you have an adapter). And while the Canon 7D has always been able to shoot 24p (24 progressive frames / second) the Canon 5D could only shoot 30p which made the camera unattractive for shooting a feature length narrative film. However, recently the Canon 5D Mark II was updated with the ability to shoot 24p making it a realistic choice to shoot our film on.
We’ve used the 5D and the 7D to shoot various projects in the past with great results. As a filmmaker who loves shooting at night, the sensor size of the Canon 5D (with its full-frame 24×36mm CMOS sensor) is what attracted me to the camera in the first place. We recently shot a short film entitled “Mars to Jupiter” on the Canon 5D. As usual, we shot at night which allowed us to test the sensitivity of the camera’s sensor. There is a little bit of “noise” in some of the darker shots, because we used a slower telephoto lens, but the quality is still incredible and would be even stronger if we used faster lenses.
Now that the camera has been updated to shoot 24p our goal is to shoot another promotional short film for Lullaby for a Lunatic. This will allow us not only to do camera tests but it will also let us test our actors and allow us to see how a small segment of our story plays out on screen.
Even though the Canon 5D and Canon 7D are digital SLR’s they have, in many ways, surpassed the capabilities of traditional video cameras in this price range.
Before these cameras were released the HVX200 was the go-to camera for many independent filmmakers. The only problem with this camera is that it didn’t allow for interchangeable lenses without the additional of a depth of field adapter (such as Redrock, Letus or the Brevis Adapter).
That being said, independent films were being successfully shot on the HVX200. Two popular examples are the recent independent film Medicine for Melancholy and the Canadian feature by Charles Officer Nuse.Fighter.Boy.
As far as video cameras go, the HVX200 was able to give independent filmmakers the closest thing possible to the “film look” without having to shoot 16mm or 35mm.
However, with the introduction of the Canon 5D Mark II, Canon 7D and Nikon’s D90, filmmakers are opting for a these cameras since they have both a larger sensor size and don’t require a depth of field adapter, which in tern means they are not cutting as much light from hitting their camera’s sensor which in the end means better image quality.
Not only are these little cameras rivaling video cameras such as the HVX200, they are also rivaling more expensive cameras such as the RED ONE camera which was used to shoot films such as Steven Soderbergh’s “Che” (see below):
I haven’t heard of too many other independent feature films being made using the Canon 5D or 7D or Nikon D90 cameras. We hope to be one of the first teams to release an independent feature film that can showcase the camera’s cinematic capabilities.
Not very many feature films are out yet shot on the Canon 5D in large part because the firmware update for the 5D (which allowed it to shoot 24p) only happened in March. This means that most filmmakers wouldn’t have had the time since the update to shoot and edit a feature length project.
We don’t expect to be the first filmmakers to do it, but we won’t be far behind them!
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We’ve actually just wrapped on a feature film shot primarily w the Canon 5d Mark 2 called Sensory Perception. We used an HPX170 w 35mm adaptor for some pre-shooting and b-roll.
We didn’t shoot on it to be the “first” to do so, but I’m pretty sure we are the first to shoot on it w Canon lenses. Beautiful Belly and A Gun the the Head have both already shot Mark 2 features, with Nikon lenses I believe. Searching for Sonny is a film that initially claimed to be first Mark 2 feature, but they’ve only shot a trailer.
The Mark 2 is simply amazing, and was more suitable for our production. The clarity is unmatched went put up with any 1/3 camera. It’s pretty unreal in low light, w minimal noise. The sensor is bigger than a RED’s.
We didn’t experience a lot of the problems I’ve heard people talk about. With one of the long zoom lenses we got “jello” in one of the pans, the only time I’ve seen that.
I can only speak from fcp experience, but it doesn’t like Canon’s codec. So I transcode to pro res.
The camera is a game changer.
I highly recommend getting one, or four or five.
Good luck with the feature, I am sure it will look awesome … Hope to see you guys at Cannes 2011 …
Hey Sterling, great to hear that you’re shooting a feature, can’t wait to see it! Recently purchased the 7D and it’s amazing for the price. I did hear that some of Ironman was shot with the 5D Mark II, but it might have just been rumours.
I remember when we first met and I had the HV20 with the 35mm adapter and you told me eventually I’d want to upgrade. I didn’t believe you then, but I think I’m starting to understand what you were saying a lot better now haha. Thanks for the tips, hope to see you when the next meetup comes along.
M