Killing TV lighting, 4k and 10-bit – Canon C300 late night chat with Rodney Charters, Drew Gardner and Lan Bui part 1

by Lan Bui on January 5, 2012

This is a late light chat Drew and I had with Rodney Charters on New Year’s eve sparked by the Canon C300. After we shot the ultimate low light test on the Canon C300 we had some whisky and talked about a wide range of things related to filmmaking. Here is a compressed list of topics we cover in the video:

Kelvin meters vs in-camera waveforms
Using the existing light on large productions
Shooting without lights or with very minimal lights
The biggest light needed on a TV set
Generator equipment and operators are not needed anymore
Good lenses for handheld camera use, especially for 12 hour days
Canon C300 is very unobtrusive compared to anything of that quality
Shooting with just a camera and audio strapped to actors chests (Lovers in a Dangerous Time)
Canon C300 looks like a Fat Hasselblad
5DmkII needed a pro shoot well, C300 actually needs less knowledge and practice for same results
98% of digital cinema is 2K or below
Some actresses think 1080P is too high resolution already and needs to be diffused back
Lack of 4K is not important because theaters aren’t actually displaying 4K
8-bit vs 10-bit

Come back for part 2 and 3 over the next few days. You can also listen to this and other posts as audio only if you subscribe to our new audio podcast feed. If you prefer to get automatic video updates… subscribe to the video feed (does anyone even subscribe to a video feed anymore?) or follow me on twitter for updates.

Lastly, what do you think of what was said in this video? A lot of it has some strong opposition… I’ve never thought 4k was that important… like Kent Nichols said a while ago, back when people were shooting on miniDV tapes they were still projecting that on the big screens, most importantly they were telling stories. Lets discuss below…

  • http://www.colinvdbel.com Colin van der Bel

    Great stuff! Would love to see part 2 soon!

  • Anonymous

    I’ve watched all you’ve got on the C300 and it’s by far the best overview of the camera I’ve seen thus far. I enjoy Phillip Bloom’s stuff too, but for all his talk about not just pixel peeping all the time, he sure does that a lot. I appreciate how you guys talk practically and that you get excited in your geeky way about cameras.

    • http://www.LanBui.com Lan Bui

      Thank you for watching!

      We love new cameras and always have these types of conversations so we just thought we should record and post them!

      Maybe we should keep posting things like this…

  • Koo

    Great stuff guys. Will post these once the next couple of parts are up!

    • http://www.LanBui.com Lan Bui

      Awesome, thanks!

  • Dave Dugdale

    I am really liking these sit down and talk casual stuff, please keep it going. Great stuff as Koo said.

    • http://www.LanBui.com Lan Bui

      Thanks Dave, we have two more of Rodney and a ton of stuff with just Drew and I…

  • Daniel Mendoza

    Great post, thanks for sharing your own thoughts and observations as to how this camera stands out in real world use. I have been overwhelmed and somewhat disappointed by the outpouring of anger/rage as to how outdated this camera is in the eyes of the ignorant swarms of spec praising amateurs. Nice to hear more positive points from an actual professional, especially since Mr Rodney Charters seems as excited about this camera as I am. Looking forward to ordering my own C300 this year

    • http://www.LanBui.com Lan Bui

      Thanks, we just spoke our minds… no fluff just our real take. It really is exciting!!!

  • Anonymous

    Great post, guys, as always. Must be fun hanging with ASC members and talking shop over some fine whiskey! Whenever I get into a discussion on resolution, resolving power, 8bit vs 10bit, 2K vs 4K, etc ad nauseum, I always cite Anthony Dod Mantle’s work on 28 Days Later: shot with a standard def PAL version of the Canon XL1. Except for the last scene, which exemplifies hope and a vision of a more vivid and colorful future and therefore shot on film, the entire feature was shot in standard def on this prosumer camera…and for aesthetic reasons. The choice was part of the style, but it succeeded it helping create the YouTube-generation vision of terror the movie needed. Story comes first. The experience of how that story is presented is what’s important. The only people who really, really care about 2K and 4K are the guys making and selling the cameras…and anonymous amateurs all over the internet. Canon C300 with EF mount, 10bit and 2K acquisition? We’ve never had it so good.

    • http://www.LanBui.com Lan Bui

      Hey Jason!

      Very good comment, thanks so much for your thoughts.

      My favorite part is ”

      The only people who really, really care about 2K and 4K are the guys making and selling the cameras…and anonymous amateurs all over the internet.

      • http://twitter.com/chadclendinen Chad Clendinen

        I think your missing VFX guys. VFX guys want all the resolution they can get.

  • Macielle

    Yummy :) Amazing.

  • http://twitter.com/coyut Mathias Häcki

    Looking forward to part 2 and three.

  • Joe Simon

    Great watch! I’m looking forward to part 2.

  • Michael Gurley

    Great interview from someone who makes his living in the business..

  • http://twitter.com/Sebastian_TR Sebastian TR

    Great video – looking forward to more!! fantastic to hear you guys talk casually about so many aspects of the camera and the current landscape!

  • Downunder

    rec review – on the C300 – does it exist?  couldn’t find it?

  • yoshi

    http://www.animemusicvideos.org/members/members_videoinfo.php?v=74605

    There’s another BUI BROTHERS VIDEOS out there…

    • http://www.LanBui.com Lan Bui

      Hahaha! That’s funny!

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