(return)
Graeme Beck Freelance Cameraman and
Sound Recordist with 14 ACS Awards for Television,
Commercial and Industrial Productions.
With the first Canon 5DIII's to arrive in Sydney, Graeme
manufactured the World's first 35mm ENG camera,
The Hyper 35. Full frame 35mm (70mm) at its best,
simply better pictures.
The original Hyper 35, built by Graeme Beck,
was the Worlds first 35mm ENG camera with single
system audio and electronic viewfinder.
The Hyper
35 ENG camera is a Hybrid of the Canon 5D
adapted to the versatility of a Sony Betacam body.
The Canon
5D attaches to a quick released bracket
to a Sony camcorder. The Hyper 35 is lightweight and
balances nicely on the shoulder for easy hand
held all day shooting and
clicks on or off a tripod at ease.
It has
a rotating viewfinder for high and low shots or
shooting from the hip, all too easy.
The 5D
is easy to focus due to the peaking circuits
in the Sony HD Viewfinder.
Operating
the rig helps you shoot images far superior
to any other DLSR rig on the market.
The
Canon 5D: up close and personal
The camera brings speed and versatility to 35mm producing
razor sharp images with velvet soft backgrounds.
Technical information on 35mm and Comparisons Tests
Canon 5D full frame 35mm sensor
compared to a 2/3" camera
(Both cameras at the same distance and shooting at f2.8)
Because the Canon 5D capture area is 8X the size of a 2/3"
camera,
longer lenses are needed to produce the same shot.
The different perspective of a longer lens also creates a
'Bigger Picture Look' along with lower depth of field
that easily separate the subject matter from the background.
The smaller the capture area of the camera,
the greater the depth of field and the flatter the picture looks.
A blured background/foreground makes the picture
look 3 dimensional. Even if shooting 3D, a larger sensor is of benfit.
Comparison to Super 35 (99% of 35mm digital cameras) are not as dramatic,
but with a 50% increase in frame size on the 5D, it is noticable.
Canon 5D full frame sensor compared
to XDCAM HD 2/3" sensor
(Both cameras at f1.8)
A 24mm lens is used on the full frame 35mm Canon gives
the same shot as a 7mm lens used on a 2/3" XDCAM HD. Both lenses
f1.7
Note the perspective change in the background,
a key feature that pulls the background forward more as the chip size increases.
An 8 X 10 usues a 300mm lens as standard perspective.
Full frame 35mm uses 50mm lens, the same as
70mm and 35mm Anamorphic. Super 35mm uses
25mm as standard, hence the slightly flatter pictures,
while 16mm and 2/3" cameras use a 12mm lens.
Potatoes arent Poatoes
A 200mm lens on the Canon 5D gives the same shot as
a 50mm lens
on a 2/3" XDCAM HD camera. Both lenses f2.8
The smaller formal camera can't blur the background any further
while the larger format camera can sharpen theirs.
New Ground for Cinematography
The Sensor's coverage is equivalent to 35mm Anamorphic systems
but uses spherical lenses. As there has never been an Anamorphic
lens manufactured below f2. Canon's f1.2 high speed spherical
lenses are capable of producing shallow focus images
that have never been seen in motion pictures before.
Low light
The Canon 5DMKIV outperforms any other camera in low light.
It's super speed sensor literally sees in the dark.
The Canon 5DMKII at 6400ASA/f1.2 compared to
Sony 2/3" XDCAM at 9DB/ f1.7 (Red
Vs Canon in low light)
The larger full frame sensor has additional lighht gathering ability.
35mm ' The Bigger Picture'
Because its capture area is 2x the size of the RED or other
half fram 35mm cameras and 8x the size of a 2/3" camera,
longer lenses are needed to produce the same shot size in frame.
The different perspective of a longer lens creates a
'Bigger Picture Look' along with lower depth of field
that easily separate the subject matter from the background.
The smaller the capture area of the camera, the
greater the depth of field and the flatter the picture looks.
The Canon 5DMKII with its full frame 70mm sensor
was the big breakthrough. The camera stretches
the palette a stop and a half beyond 35mm Anamorphic
to rival the look of 70mm but with shallower depth of field
producing motion picture never seen on the screen
before with outstanding three dimensional quality.
(3D movies
would also benefit with the smaller depth
of field from the larger capture area to look more three dimensional)
The bigger the better!
The Canon 5D full frame 35mm sensor gives outstanding results
similar to Panavision's 35mm Anamorphic cameras but with the
advantage of being able to use faster spherical lenses capable
of producing shallower depth of field images of outstanding
three dimensional quality.
It also achieves a 'big picture look' by
using longer lenses to produce the same shot size in frame.
When a 5.5mm wide angle is used on a 2/3" camera,
a 24mm is used on the full frame Canon camera.
35mm film gate runs vertical, Canon 5D 35mm digital runs
sideways equaling a 70mm motion picture camera.
Panavision 35mm Anamorphic film cameras uses a full frame
Academy
aperture of 18.6mm x 22mm (409 square millimetres or 818 square
millimeter Anamorphic equivalent.) While in movie mode the Canon 5D
has an effective capture area of 36mm x 22mm (792 square millimetres).
Its coverage is just about equivalent to the Anamorphic system
but can use the faster spherical lenses.
As there has never been an Anamorphic lens manufactured below
F2,
Canon's f1.2 & f1.4 spherical lenses are capable of producing
shallow focus images that have never been seen in motion pictures before.
Graeme Beck also made the first hybrid film/video camera.
A 16mm camera with electronic viewfinder
which was excellent for exposure control.
Contact: Graeme Beck
m: 0411 82 7799
graeme @ electricfilms.net.au
SYDNEY AUSTRALIA