Film Shot On Cannon 7D

Canon EOS 7D with EF 28mm f/2.8

Image via Wikipedia

Living in Los Angeles, I always find it novel when I meet other filmmakers who actually went to my small, Pennsylvanian high school (there are only 2 such people that I know of). One is a filmmaker named Joseph Ort. And frankly, he is bit of a filmmaking tech-head.

He uses his Cannon 7d on weekend projects – and he wanted to share a rundown of the tech stuff used during the production of his film, Tracked:

“>Tracked trailer from d”>Shadowmind Productions on Vimeo.

Tracked was filmed on a Canon 7D with a Tamron 28-75mm (2.8) and a Canon 50mm (1.8).

For the price of the 50mm, it’s a very hard deal to pass up and it was used during a night sequence where a street lamp was the only light source. For the motorcycle driving shots, I tried to mount the 7D on the bike but found that the GoPro camera was a lot easier to place in those tricky spots. I could mount that on the side pegs, right next to the engine and even on the handle bars of the motorcycle without any worries. With some simple color correction, these two cameras match completely.

For sound, it was a basic setup of a Tascam DR-100 and two Sennheiser Ew100 G2 lavs.

The one benefit of shooting with the Canon 7D was at a train station. Normally shooting this scene with another camera, it would catch a lot of attention and we probably would have been run off by security immediately. Knowing that there was no dialogue during this scene, I was able to shoot bare bones with the 7D and probably from a far, it looked like we were just taking pictures. No security ever questioned us and we filmed that entire sequence in under 40 minutes.

Trailer at: ShadowmindProductions.com/Tracked.html

Are You Part of The Filmmaking Class?

Canon EOS 7D, front view.

The Cannon EOS 7D is changing the ways filmmakers make movies. Image via Wikipedia

Last week I had a debate with my buddy about filmmaking class. And no, I’m not talking about the classroom. But I am talking about social filmmaking status.

Basically the debate went like this: how do you decide what movies are “real” movies and what movies are “fake.”

(I know. Stupid debate, right? But if you read this, I’ll dispel a myth and forever end Hollywood movie snobbery. Promise.)

In other words, let’s say you’re a filmmaker and you decide to grab your Cannon EOS 7D and shoot a feature – how do you determine if you made a real movie or not?

ARE YOU READY TO LEARN THE DIFFERENCE BETWEEN A FAKE MOVIE AND A REAL MOVIE? Then here is the official Jason Brubaker criteria to determine if you created a “real” movie:

Does your movie make money?

If the answer is yes, you my filmmaking friend have a real movie.

“But there are no stars in your stupid movie that you made for 20K on a borrowed camera.”

“Yeah. But it makes more money than that Tom Cruise box office bomb.

Do you see where I’m going with this?

I don’t give a crap about the idiot Hollywood snobs who would much rather ignore you and your HD camera. And so what if you never worked with Spielberg or for that matter any “name” talent. And who really cares if some band of ivy league film school graduates spent their 30k making an 8 minute, 35mm short, when you decided to make a feature?

Seriously.

The only thing that matters is if your movie makes money.

Again, seriously.

You’re a filmmaker. If you want to be in business, you must create a product. Your product is a feature film. And if you happen to shoot your feature for no money, with limited locations, with scenes that are under-lit, starring no name actors – but you actually FINISH your feature film and you find your audience and they agree to buy your movie, guess what?

  1. First of all, you are what us business minded folks call “efficient.”
  2. Secondly, by keeping your overhead low, it will take less sales to recoup your initial investment.
  3. And most importantly, you have just created a REAL movie. You are a real, professional filmmaker.

So “F” any Hollywood snob that tells you otherwise. I mean, be nice – but seriously, tell em’ to take a hike. They are probably just worried about job security – and they should be.

Here is why:

Take a look at the ever eroding options for traditional distribution. There are more feature films than ever with better and better images for less of a budget. And very soon, the entire world will be flooded with high production valued content – the likes of which Hollywood has never encountered. (For a historical reference, read about how inexpensive product and cheap labor killed Bethalam Steel and compare this to what’s happening in Hollywood.)

So as a filmmaker, you now have a few choices:

  1. Wait around for someone to discover your project and give you a gazillion dollars – so that you can have a “real” movie that will play the festivals and probably end up on iTunes and Amazon.
  2. Move to Los Angeles, fetch coffee on various “real” productions so that you can one day make a movie that will probably play the festivals and guess what? End up on Amazon and iTunes?
  3. Or starting today, you can create a movie structured around your current cash and equipment and location limitations that will (this is the kicker) play the festivals and probably end up on iTunes and Amazon.

Do you see what I’m getting at? Theatrical distribution is not a viable outlet for independent filmmakers. And video stores are changing and becoming a less viable sales outlet for indie filmmakers. So where does this leave Hollywood filmmakers and you? You got it. The internet.

And yes, I’m once again referring to:

digital self distribution.

(Tell your filmmaking friends – it’s time to face reality.)

You see, for any business to survive, you need a product (or a service) and a group of people willing to recognize that the value of your product outweighs the value of their cash.

Your movie is your product. And thanks to innovations in both production and digital self distribution, there is really no difference between the dollars spent for “real” Hollywood movies or your movie.

And if you’re making a living doing what you love, who really cares if some idiot thinks your work is sub par? I mean, this debate never bothered Roger Corman, so why should it bother you?

Now the important question is – what does this mean? For that answer, I offer a FREE filmmaking book:

www.FreeFilmmakingBook.com

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Jason Brubaker is a Los Angeles based independent producer and an expert in digital self distribution. He makes movies and he writes about making movies. More of his articles can be found at www.filmmakingstuff.com