I had, at this point, never seen my work projected on a really good projector before so this was going to be a real test of the cameras. Rick and Mike wanted to see how well the footage held up on the big screen. They had shot some stuff and werent happy with what they were getting. So they converted my edit into an MXF to play through Avid and I sat down to watch the edit.
I was nervous. Never having seen my work on a big screen as good as this, but also George Lucas came in to watch and also the legendary sound designer Ben Burtt. My heart was racing. I watched as the edit played and they loved it. My favourite moment was when the star timelapse came on and Ben Burtt said Hey, now, hang on!! This was a very quick ungraded draft edit knocked together from a crappy grey day as a test, not supposed to be shown as an example of my work! Then Quentin Tarantino came in as he was due to talk at a screening of Inglorious Basterds and George said to Quentin, come see this. Quentin waxed lyrical, calling it Epic and William Wylersesque and was shocked it was shot on a DSLR. He had no idea you could shoot HD video on them or they were so good. I love George Lucas and Quentin Tarantino, so to have my work screened to them was pretty special to me.
Rick, Mike and I also watched some of my other work on the big screen. Venices People, San Franciscos People, Cherry Blossom Girl and Sofias People. They all looked incredibly good on the big screen. Better than I could ever have imagined. We watched everything in the Stag theatre at the ranch too. Probably one of the best screens in the world. 40 foot screen and it looked incredible.
Mike and Rick were over the moon. They didnt know how well these cameras would hold up on the big screen and it passed with flying colours. Lots of swear words of incredulity were used!
80% of the footage was shot on the 5DmkII at 30p, then conformed to 23.98p in Cinema tools, effectively causing a slight slowdown but as no sync was used this was fine. All the timelapses were done on the 7D apart from the first star one. Some shots of the mist on the lake were done on the 7D too in 23.98p mode. I found them indistinguishable in the edit. Picture profile was Neutral, sharpness all the way down, contrast all the way down and saturation down one notch on both cameras.
During the day I also went through the cameras with Mike and Rick on how to get the best out of them. Rick has my 7D training dvd so already knew a lot. I went through all the Zacuto gear with him. He particularly was impressed with the Tactical Shooter with Z-Finder. We also used the Marshall monitor and Miller DS20 Solo (and of course the Glidetrack)
The next day we shot with the Sony EX3, Letus Ultimate, relay and Nanoflash recording at 280mbs. Testing out this combination for the big screen too and it also looked pretty good! Although we did a lot less filming with this combo as it was the DSLRs that we really wanted to see how well they stood up.
So why were we shooting with these cameras and why is Lucasfilms producer Rick McCallum interested in them?
First off Lucasfilm has been at the forefront of digital technology. They were instrumental in getting a 24p Sony HD camera to use for some shots in Episode 1 of Star Wars and shot episode 2 & 3 entirely digitally. So being ahead of the pack has always been something they do. Pushing the reluctant industry forward kicking and screaming!
Rick and Mike had seen what these cameras were capable of and wanted to really know just how much you could push them. They had seen mine and others work online but really wanted to see how well they performed projected. The joy of these guys is they have a great attitude. If it looks great on the big screen then that is the most important thing. Not codecs, limitations, bit rates etc
all those are very important but the most important thing by far for them is how it actually looks and it passed with flying colours. That is what they really care about.
Talking of flying, that is a big reason why I was there. Lucasfilm had just finished principle photography on Red Tails, a WWII film about an African American fighter squadron. They filmed this in Prague and needed to film pick ups early next year. Much of this was going to be intimate in cockpit stuff and flying shots. They shot the movie on the Sony F35 but this is a beast and utterly impractical for the cockpit stuff. Hence the Canon DSLRs. They were also looking at new ways to shoot the much anticipated Star Wars live action TV series. So they wanted to see how well the 7D and 5DmkII stood up with this in mind. Not necessarily shooting on these cameras but you never know, with a few mods and tweaks and the ability to connect that Nanoflash up to the 5dmkII or 7D