#Canon connect picture stylizer skin
#Canon connect picture stylizer series

“The fact we can have a whole kit of super high-quality Cinema lenses in a little hard shell protective case for a show like this is tremendous,” he noted. We did car shots at night where I’d put a sling on it to ‘safety’ it to the car, and then stick it out the car window as we were driving to get some very nice perspectives.” Sensor and GlassĮqually essential to the Canon EOS C500 camera’s mobility for capturing the unique looks for Death Row Stories was the wide variety of Canon Cinema and EF-series lenses Rossi used. And if we really need a low profile we use the EOS 5D Mark III DSLR. But then also if I’m running around with it, I can put a still prime on it, use just the top handle and the viewfinder, and keep a very low profile. “I generally like to build it up with long rods and a viewfinder to make it more like an ENG camera that’s steady on my shoulder. “I love the fact that you can configure the Canon EOS C500 camera in a lot of different ways,” Rossi said.

#Canon connect picture stylizer skin

I wanted the people we interview to look great – to look natural – and the Canon EOS C500 handles skin tones really well, which was important for us.” Lightweight We were able to create beautiful scenes with light and shadow and shallow depth of field, and do it at the speed and in the sometimes less-than-ideal locations that television requires. The picture profiles we developed were complementary to our interview subjects while also heightening the drama of their locations. But in controlled interview situations with little time for post the Rec 709 setting on the EOS C500 looked great. I prefer Canon Log for run-and-gun situations. “We shot Rec 709 had this been a more of a cinéma vérité show I think Canon Log would have been a great way to go. “Our production schedule was extremely tight, and we didn’t have a lot of time for color correction, so I tried to give post production an image that would require very little manipulation,” Rossi said. Rossi exploited the creative looks made possible by the Canon EOS C500 4K Digital Cinema camera and JR45Cine picture profiles not only for reenactments and mood roll, but also for present-day interviews.

I really like the colors and the images that the EOS C500 camera can give me, and the directions I can push it in.” I also used a lot more gels than would be typical for a documentary to give it a more dramatic, filmic look.

#Canon connect picture stylizer series

I took some inspiration from a Miami detective series and similar shows from that era, with bright colors and deep shadows.

For example, for our first episode we shot stylized reenactments in Miami of events from the 1980’s. I was able to use the JR45Cine picture profile as a jumping-off point for the looks I wanted, and then tweak them as needed. The Canon EOS C500 let me do that easily by getting into the black gamma. There were times I wanted to increase the moodiness, and I was able to dial-in more contrast. “Obviously, the subject matter of the show is pretty heavy and dramatic. “They provided a rich, gorgeous look, very nice colors, and very flattering skin tones,” Rossi explained. Rossi then “tweaked” the profiles according to the desired look for each scene. These camera settings were loaded into the EOS C500 Digital Cinema Camera from an SD card. Key to Rossi’s ability to capture the kind of images Gibney sought for each type of shot was the use of the JR45Cine picture profile created by AbelCine. Creating Looksĭeath Row Stories is mainly comprised of three styles of footage: artistically lit interviews, “mood roll” (B-roll of abstract shots to establish a mood), and stylized shots Rossi describes as “quasi-reenactments.” These reenactments are filmed to evoke the era each story depicts but not to graphically re-create crime scenes. Rossi’s EOS C500 was configured to record Avid DNxHD files to an external Sound Devices PIX 240i recorder. Both cameras captured in 1080p, although the EOS C500 4K Digital Cinema Camera also offers multiple recording and output options for 4K and 2K. Rossi used a Canon EOS camera as his “A” camera and an EOS 5D Mark III to capture B-roll. It’s exciting to be able to do that affordably for a documentary.” But now with the Canon EOS C300 and EOS C500 cameras, you can approximate some of the looks you’d get in feature films and higher-budget episodics to a much closer degree. Those formats provided completely different looks. “Docs were typically shot using Super 16mm film or 2/3-inch ENG cameras, and the image difference with 35mm was extreme. “The Super 35mm CMOS sensor, lovely color palettes, and dynamic range of the Canon EOS C500 wasn’t available to productions at our budget level in the past,” Rossi said.