Anyone here gone and made a full out feature on the T2i or 7D?

I was just wondering if anybody knows of any good features done on either camera? Obviously they are both wildly popular and practically everyone and their dog is making short films and cool little videos with these awesome cameras. I recently purchased a T2i and have been slowly building a mild lens collection along with some other equipment to hopefully produce my own short film in the very near future.

So, aside from all the great footage, clips, short videos / films (under 15 min lets say), has anyone really just gone for it and made a full out film, half hour or more with either camera? The closest I've seen is one called "The Bridge" (absolutely fantastic and inspiring btw) which is on vimeo, but its really the only one I've come across. Anybody here have their own film I could check out?

I guess I'm just looking for some inspiration, I definitely know I have it in me to create something visually arresting and captivating for 5-10 minutes, but a real scripted movie for an hour or more is a whole different ball game. I'd love to see a good example.
 
Over the next year I reckon there will be a few being released on dslr, atleast the 5d and 7d anyway. I'm shooting a surf film on 5ds now. Alot more equip/money is needed to turn these into a nice rig. With some quality canon or zeiss glass, follow focus, matte box, filters, monitors, support and knowledge i reckon some nice films can be made. Check out Vincent laflorets blog and you'll see what's possible with the dslr.
 
I shot a feature on the T2i. I'm afraid it's not available for viewing, yet. I'm still in the process of submitting to festivals.

The trailer on my website is still a rough trailer (all in-cam audio). Not going to finalize the trailer for a couple more weeks.

http://www.antihero-movie.com

People have been shooting features on prosumer-level camcorders for ages, and as far as I'm concerned, the T2i is an improvement over most prosumer-level camcorders.
 
Over the next year I reckon there will be a few being released on dslr, atleast the 5d and 7d anyway. I'm shooting a surf film on 5ds now. Alot more equip/money is needed to turn these into a nice rig. With some quality canon or zeiss glass, follow focus, matte box, filters, monitors, support and knowledge i reckon some nice films can be made. Check out Vincent laflorets blog and you'll see what's possible with the dslr.

I consulted on someone's film shot on a 5DMK2 this past weekend, and you are not kidding. They had decent glass and a pretty good tripod, but no follow focus, no matte box, no filters, no external monitor, made it VERY tough. NO way in hell I'd even think about a short over 2 or 3 minutes without all that additional gear.
 
They had decent glass and a pretty good tripod, but no follow focus, no matte box, no filters, no external monitor, made it VERY tough. NO way in hell I'd even think about a short over 2 or 3 minutes without all that additional gear.

This is what's putting me off buying one at present. I can stretch to 2 grand, but not 3.
 
It looks tough, but not impossible. I can see how it'd slow you down.

Maybe you could design shots that didn't need too much focus pulling.... make yourself a homemade matte box:

http://www.google.co.id/#hl=id&sour...te+box&aq=f&aqi=&aql=&oq=&fp=1853621f595215f6

homemade monitor:

http://www.google.co.id/#hl=id&biw=...onitor&aq=f&aqi=&aql=&oq=&fp=1853621f595215f6

homemade filters....

With a bit of thinking, and a bit of bloomin luck, you could spend only 200 on a minimal kit. I agree about the triangle.
 
I consulted on someone's film shot on a 5DMK2 this past weekend, and you are not kidding. They had decent glass and a pretty good tripod, but no follow focus, no matte box, no filters, no external monitor, made it VERY tough. NO way in hell I'd even think about a short over 2 or 3 minutes without all that additional gear.

Meh. Depends on your plans for your production, and the size of your budget. I could be reading wrong, but I assume the OP is more in my shoes, regarding budget, i.e. it's non-existent.

I think follow-focus is a bad idea if you're working by yourself. It's not just that this is a two-person job in Hollywood, that requires a great deal of practice. It's mostly that you have a lot of hats to wear and I don't think you should be spending so damn much time just to acheive shallow depth of field, when there are other things that require a many-hat-wearing-director's attention (like talent).

Anyway, I think your assessment is a bit of an exaggeration (and by "a bit", I mean "a lot"). Shooting on DSLR is no more difficult than shooting on a prosumer camcorder, and I'm speaking with experience. "No matte box, no filters, no external monitor" -- how is that any different than shooting on any prosumer camcorder?

Get your DSLR, L1N3ARX, and shoot your feature. They are all the rage for good reason.
 
On a prosumer cam the screen is usually larger, and it's moveable (I'd still want a monitor). The deep DOF of a prosumer cam doesn't require pulling focus constantly as people move around the frame.

Again, don't get me wrong, there are a LOT of great things about DSLR. I'm just saying after seeing one in use in a real production environment wihout all the extra bells and whistles. Personally I would not even attempt it without the additional bells and whistles.
 
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I shot a feature with a prosumer

Shot a 90 minute film with 3 Cannon D40's. Scriptless non narritive nature film though.

I've seen a lot of people's footage from these 5dII's etc, and though they are capable of producing truly amazing art films, I think they would be a real drawback on a live set for some of the reasons already mentioned.

It's a great way to start out, but I think if you look at something like a pmw-ex1 at about the same cost as a 5dmkIII, you're probably always better off using a movie camera to shoot movies. They're just built for it.

In time of low finance, I went with the still camera, if you don't need moving shots, it's a good way to avoid that "home movie" look.
 
Without the follow focus it's really hard trying and risk bumping the camera around and basically it sucked for me, i can shoot and focus by myself easy with the follow focus. I don't do any crazy focus pulls though and I plan most of my shots.
The monitor is a must. Try shooting a low shot and looking the the dslr screen at the same time, Na. And trying to get critical focus without using the peaking filter on the monitor when shooting
1.2, Na. You can live without a mattebox if you use screw in filters but it looks heaps cooler with one. I use the redrock cinema bundle and Marshall 5inch monitor and it kicks ass( until I van afford REd anyway) :) and I wouldnt even think about shooting dslr without spending 10k +.

Owen
 
Hey guys,

We shot a feature length film "art-house" horror film with the 5D this past September. It actually worked out really well for us. Of course, we had a decent range of lenses, glidetrack, handheld rig, and some other bells and whistles. Pretty much 95% of this film takes place outside. We are still in the process of editing the film but I do have an unofficial teaser on indiegogo that you can check out to see the kind of quality you can get. The rough edit looks great, some folks even thought it was shot on red...I think that says alot...5D is def the way to go if you have a tight budget that would allow you to still get a camera, you can also rent a wide variety of lenses from some pretty cool webistes and people are creating things for it like everyday...it's a magnificent machine as far as I'm concerned! :)

check it out: www.indiegogo.com/the-taking
 
The reason I worked for free consulting on this film for these two women who didn't have a clue what they were doing was to get to see the 5D in action. We got some AMAZING shots, BUT I also saw the limitations. I'm sold though. Bonus at work friday is followed by a visit to B & H website to pull the trigger on one.
 
Gonzo, I don't know why you keep mentioning shallow depth of field, as if you have no alternative. If you want wide depth of field, you aren't forced to use a prime lens. Keep the f-stop at 8 or above, and your depth of field will be quite wide.
 
Gonzo, I don't know why you keep mentioning shallow depth of field, as if you have no alternative. If you want wide depth of field, you aren't forced to use a prime lens. Keep the f-stop at 8 or above, and your depth of field will be quite wide.

ummmmm... because getting to F 8 or above requires a LOT more light...

So you're shooting an interior at night or in a window less room. Your options are use a reasonable amount of light (say 500 to 1000 watts) and pull focus constantly (not that bad if you block the scene and have a follow focus where you can mark where each pull is), OR rig up 3 or 4 1Ks and run at F 8 or above. either one requires spending money. Either get a decent follow focus or make sure you a really good light kit.

Again, my point is just that to really be usable you have to spend the money to do one or the other. Camera out of the box with a 500W Home Depot Work light isn't gonna get it.
 
ummmmm... because getting to F 8 or above requires a LOT more light...

So you're shooting an interior at night or in a window less room. Your options are use a reasonable amount of light (say 500 to 1000 watts) and pull focus constantly (not that bad if you block the scene and have a follow focus where you can mark where each pull is), OR rig up 3 or 4 1Ks and run at F 8 or above. either one requires spending money. Either get a decent follow focus or make sure you a really good light kit.

Again, my point is just that to really be usable you have to spend the money to do one or the other. Camera out of the box with a 500W Home Depot Work light isn't gonna get it.

http://www.antihero-movie.com

This trailer was shot entirely between f8 and f11, with the camera straight out of the box. The outside shots are lit by God. The inside shots are lit by a single 500W bulb, if anything at all (we often just used daylight, through the windows).

I don't actually recommend using natural daylight, it was just the reality of my shoot. We were very pressed for time, so I accepted that cinematography would be a downside of my movie. However, as you can see, you do not NEED a ton of light to keep the f-stop at 8. A small, DIY light-kit could do wonders, in the right hands.
 
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I believe you, I just also know that last weekend it took 1000W of light to get a 5D MK2 with a canon 50MM 1.2 L lens on it to like 2.8 or 3.5 in a 10 X 12 room. That's to have the shot properly exposed (no shot even a half stop under) so you could do proper color grading in post.
 
I believe you, I just also know that last weekend it took 1000W of light to get a 5D MK2 with a canon 50MM 1.2 L lens on it to like 2.8 or 3.5 in a 10 X 12 room. That's to have the shot properly exposed (no shot even a half stop under) so you could do proper color grading in post.

Something doesn't appear to be right. What was the ISO?
 
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