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Looking Inside the Canon1DC DSLR 4K Capture Project “The Ticket”

There was an amazing response at NAB about Canon’s new professional 4K camera line, including an hour and a half long wait to get into the 4K theater on Sunday. I had the privilege of sharing this momentous event with Jeff Cronenweth, ASC. Jeff lensed “Man and Beast” on the C500 for Canon. His work was stunningly beautiful! He had some of the most gorgeous skin tones and breathtaking fine details. “Man and Beast” was directed by Dante Ariola.

We have had an outpouring of positive feedback on Po Chan’s film “The Ticket.” Everyone at Hurlbut Visuals wanted to give you an inside look at how we used the power of this incredibly flexible, lightweight, DSLR platform, the A camera system that is the Canon 1DC. It gives any filmmaker the ability to dream.

Examples on how this small footprint aids in your creative aspirations:

 

The Visual Landscapes of “The Ticket”

The Visual Landscapes of “The Ticket”

 

The Hospital

The Hospital

Due to the small size of this camera, we were able to get the camera incredibly low while Vince sat on the floor.  Po and I wanted to use a 50mm to show Vince’s perspective, not a wide angle distorted view.  He is on the floor. With a large footprint camera, we would have had to put Vince on several apple boxes to get this low angle perspective, which would have raised his head very close to the ceiling.  With this new camera, we only had to raise him up on a 1/4 apple box, and we kept it real.

Using the Canon 50mm Cine Prime for a low angle shot

Using the Canon 50mm Cine Prime for a low angle shot

Chan and Hurlbut watching playback on HP DreamcolorChan and Hurlbut watching playback on HP Dreamcolor

Po Chan

Po Chan

The low angle wide shots on Vince and Emma once she asks “What time is it” for the second time were very easy to get, once again because of the short length.

Chris McGuire, steadicam operator, completing the low angle wrap around shot

Chris McGuire, steadicam operator, completing the low angle wrap around shot

The low angle wrap-around shot, where we are shooting through Emma’s legs with Vince on the floor in the background, was done on the Revolution Steadicam Rig.  The 1DC weighs only 6.5 lbs., with the camera and lens. Chris McGuire,  our operator, pointed out that this shot would have never been possible with other larger cameras.

Closeup of Canon 1DC and the Revolution head

Closeup of Canon 1DC and the Revolution head

The shot of Vince back in the hospital, which is right after the Ferris Wheel scene, would have never happened without the lightweight compact nature of this 1DC.  We had it on the Revolution Rig again and rotated it 90 degrees so it felt like his head was lying down.  Where Vince was located, we only had a small doorway for Chris to navigate in.  He was able to pan and tilt his rig to find the nurse as well as the doctor, once he arrived.

Dutching the Revolution head to translate Vince’s disorientation

Dutching the Revolution head to translate Vince’s disorientation

The exit

The Exit

Running backwards with a very heavy camera system on the Revolution rig would have been impossible.  Chris was able to back peddle, putting the 1DC right on the deck as they ran out, then boom up to reveal the taxi sliding into frame.  We were able to take in a very low angle perspective in the hospital hallway with all the fluorescent lights overhead and then merge into the warm world of the ER pull up.

McGuire running backwards with the Revolution rig

McGuire running backwards with the Revolution rig

The Taxi

The Taxi

We purposely cast the Prius Taxi Cab to not only be eco-friendly, but to showcase the power of the camera’s size and its sensor.  We loaded our three actors; Po, our director; Mike Svitak, our 1st AC; and me into the cab and drove around the streets of Los Angeles.  I was in the hatchback of the Prius on a Kessler Cine Slider, using a Small HD DP-4 to gauge my exposure and frame my shot.  The lens was the new 24mm Cinema Prime at a t1.3.  I was able to get the camera nice and high in the slanted hatchback to see all the depth out the windows.  Using the incredible sensitivity of the 1DC sensor, we were able to drive around and take all the exterior light that existed on the street and bring that low light into the Prius.

The only light I used was a Rosco Light panel.  The reason that it worked so well is that it is a small LED that lights up a white board in either daylight or tungsten, with multiple sizes and is easy to mount, or as in our case, hold.  Emma was able to hold the light and assist in the lighting of Vince in the center of the vehicle.  A cinematographer tries to create a ballet of moving light while driving.  Usually, this is done with moving lighting gags, pulleys, etc. In this case, no camera cars, no process trailers and no generators were required.

1DC in the back of a Prius on a Kessler Cineslider with Canon 24mm Cine Prime

1DC in the back of a Prius on a Kessler Cineslider with Canon 24mm Cine Prime

Chan sitting with the actors in the back of the Prius

Chan sitting with the actors in the back of the Prius

The Boutique

The Boutique

Po’s vision was to fly with Emma and Vince once they decide to steal the clothes and run.  She wanted the camera to be energetic and alive.  We are off.  We once again used the 1DC small footprint to start low on the floor, where we tilt up and reveal Vince and Emma’s hands. We did not do this with cable cams or technocranes, but with an old school camera hand off.  We then quickly move with them and fly over the glass wall, where Chris McGuire pops up from our ramp, courtesy of my Rigging Key Grip Kent Baker.  Chris grabs the camera and flies down the ramp right alongside our actors.

Notice the picture of the camera rig we built.  It consisted of an MCS cage, a Bartech remote follow focus, a wireless sound device, a Small HD DP-6 monitor and an Anton Bauer battery to power it all.  Did you notice the back LCD screen, as well as the on-board monitor? This is a new function called mirroring.  It enables you to have the back LCD sceen as well as other monitors or EVF’s.  This was absolutely crucial in capturing this shot because I was able to operate off the DP-6 in low mode, and Chris could operate off the LCD.

Key Grip Kent Baker building the ramp

Key Grip Kent Baker building the ramp

McGuire standing by for the camera hand off

McGuire standing by for the camera hand off

Close up of hand off rig

Close up of hand off rig

The hand off

The hand off

 

The Arcade Area of the Pier

Using this lightweight camera, we were able to achieve the low angle whip-around of the roller coaster overhead, then down to Vince and Emma running through all the color of the gaming area.

 

Low angle shot in the gaming area of the pier

Low angle shot in the gaming area of the pier

The Ferris Wheel

The Ferris Wheel

You would never take your actors, your director, focus puller and your DP up in a Ferris  Wheel basket 57 feet above the Pacific Ocean and shoot an emotional scene, but that is what we did.  Using the sensitivity of the sensor, I was able to light Vince and Emma with just 3 lights and 4 amps.  I used the new Kino Flo Celeb 200 LED light to key and then back light both of our actors, plus a DIY Christmas light board that was chasing and flashing to match the Ferris Wheel in the background.  The 1/2 mile of depth was lit courtesy of the city of Santa Monica.  The performance I was able to get from Emma, with the wind whistling in her hair and the tears welling up in her eyes because of the cold, never would have been possible on stage in a green screen environment. Using this wonderful device took our story that much higher, our visuals that much higher, and delivered emotions that would never have been possible with any other device.

 

Chan and Hurlbut with the actors in the ferris wheel bucket

Chan and Hurlbut with the actors in the Ferris Wheel bucket

 

I will be leading a hands on session with the 1DC and the new Cinema Primes for the Canon Live Learning Center at the LA Film School on April 25th at 6pm. Please sign up from this link. Spaces are going fast, and I want to be able to show all of you the 4K projection and discuss why I think this tool is so special. A very in-depth Q and A session will follow. Support staff from Revolution Cinema Rentals will be supplying all the latest rigs that turn this still camera into a movie making machine. I look forward to seeing you there!

Thank you to Steve Tobenkin and the shooters from Reel to Reel for delivering an amazing BTS.

You can view “The Ticket” on the previous post.
Like “The Ticket” on Facebook
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Rate “The Ticket” on IMDB.

Author: Shane

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82 Comments

  1. Another fantastic BTS article. Thanks Shane! Were the low-angle running shots stabilized in post? One of my favorite scenes, btw…

    Post a Reply
    • Reev, thank you so much for your kind words. No everything was as is.

      Post a Reply
  2. Wow, I have been waiting for this post to see all of the cool tricks you guys pulled on set to get some of these shots. I definitely was not expecting a camera hand off to be behind that scene where they run down the stairs, thought for sure there was some kind of rail system with a mounted camera. Thanks a million for sharing your words and experiences. One day I hope to be shooting with this camera myself. Also, wish I could attend your master class but unfortunately I am living in Arizona at the moment and have to work that day but I told my best friend about it and he already signed up so I will have to live vicariously through him. :-)

    Post a Reply
    • Daniel M, thank you so much for these wonderful words of support. Much appreciated. I will continue to share, we are in it and things are a changing’

      Post a Reply
  3. Shane,

    Simply an awesome post!

    Thank you,
    Bill

    Post a Reply
  4. “Chris McGuire, our operator, pointed out that this shot would have never been possible with other larger cameras.”
    -Now that’s interesting he says that because on his revolution head website, it says he’s used the system with larger cameras such as the Alexa and film cameras.

    Post a Reply
  5. This is why this is a camera I hope to own one day. DSLR form factor is something I can’t live without. Now that Canon put such a high resolution in a DSLR camera, I’m excited.

    Personally don’t think it’s overpriced like others are saying. 4K internally in a small package…wow.

    That hand off idea was awesome that you did.

    Post a Reply
    • N.K.Osborne, I could not agree more!!!!! Thank you so much for your kind words.

      Post a Reply
  6. Shane Rocked NAB, PO really surprised the audience with her knowledge of camera movement. She wanted the ceiling to slowly come down onto the protagonist to give a feel of hopelessness and helplessness. Damn, I can’t wait to see what Shane does next in Anamorphic! I bring my 5Dand 7D to camera preps at Woodland Hills PV with my Denz PV mount and I have tried all the lenses, the close focusing 40mm Primo Anamorphic is insane, I could shoot an entire feature with it, the flares are pure magic. Dude, you are freakin’ rockstar with the handheld setups!

    Post a Reply
    • Bob Gilles, I cannot thank you enough for your kind words. I passed this onto Po a couple of days ago and she cried. Thank you for understanding and appreciating what we do.

      Post a Reply
  7. Hey Shane,
    This is awesome, I just Love tha way you work, you inspires me. Hope we can work together soon.

    I realized that you used a tape over camera LCD screen. This for marking a 2:35 aspect ? If so, how you set that in correct position ?

    Thanks,
    Matheus

    Post a Reply
    • Matheus Oliveira, Thank you so much for your kind words of support. We marked out a 2:35 to 1 screen aspect ration on a sheet of paper and then framed it up and then marked the lines.

      Post a Reply
  8. Shane, what did you you guys do to the port side of the camera. Theres some green and some orange wires hanging out that side of the body. Looks like a hack Just curious.

    Post a Reply
    • Gordon Segrove, this camera was built by hand, that was literally the camera’s guts.

      Post a Reply
  9. Hi Shane,
    Wow! The BTS actually tells us about the capability of this small and incredible package. Just that Canon has to include a few things more like zebra, peaking, ability to zoom in during recording to check focus to help us in using in a minimalistic configuration.

    Cheers,
    Sabyasachi

    Post a Reply
    • Sabyasachi Patra, thank you for those kind words and I will pass these suggestions onto Canon. Thanks for the feedback.

      Post a Reply
    • Francesco Sandonà, thank you so much for all your kind words.

      Post a Reply
  10. I am very sad that it costs so much and it only shoots up to 60p.
    I would never buy it.
    I would consider buying it if it shot 1080 120p

    Post a Reply
    • Oscar, all in due time, Canon is just getting warmed up baby!!!!! I have been making features for over 16 years. Never has the masters made a movie with one camera. We use all different ones, WHY, because one camera cannot do everything the best. This camera is a sound A Camera system, no a slow mo camera, I would turn to film for that.

      Post a Reply
  11. Amazing how sensitive that camera is. Can you explain the revolution head. Seems like that really added to the storytelling. Is it a remote control dutch head that mounts on Steadicam or an actual sled? Loved this short man. Fantastic work, very moving story too. Left you with questions at the end and thats what a short should do.

    Post a Reply
    • Jon the steadicam head you were inquiring about is made by a Manchester, UK company called MKV. The head is an Alien Revolution (AR) patented by MKV on a carbon fibre sled. Its possible to rotate the camera 360 degrees via remote. Its the ultimate steadicam setup and is very expensive. Hope this information was of use.

      Post a Reply
  12. Thank you for sharing your behind the scenes images and words. A wonderful story well told. The film is fantastic. Thanks again.

    Post a Reply
    • George Vernon, you are very welcome and I will pass this onto Po Chan our director. She rocked the house. Story is king.!!!!!!

      Post a Reply
  13. I’m always inspired by your passion and creativity. Thanks for sharing what you’ve learned.

    Post a Reply
    • Philippe Kiener, it is what I do, I love it, breathe it, work it and savor it. Both my parents were educators, they had the passion, the fire.Thank you for noticing and your support.

      Post a Reply
  14. I’ve been reading your blog for over a year now and never posted before, but today I just had to express my gratitude. This short is absolutely amazing!!! So beautiful images – I was totally immersed. I am looking so much forward to your BTS series on this. It would also be interesting to one day hear your thoughts on the C300 vs 1DC. Thanks for sharing and inspiring

    Post a Reply
    • Martin L, thank you for posting and thank you for your kind words as well. I will pass your kudos onto Po Chan. There is no comparison. The 1DC is 4K and the C300 is 1080p. This camera will shake the film world up just like the 5D.

      Post a Reply
  15. i agree, great video! and thanks for showing the BTS its always so helpful.

    Post a Reply
    • Kevin, you are very welcome and thanks for the support

      Post a Reply
  16. Watching the film it was easy to take some of what you did for granted. When you break it down for us, that’s when it becomes clear just how incredible the technology is. Thanks.

    Post a Reply
    • Oli Kember, that is exactly right. To be able to house that 4K power in a 3.25lb housing, this is game over baby!!!

      Post a Reply
  17. Your Passion is Inspiring… Thanks for telling a story and not doing a camera test… I was inspired with your enthusiasm at the Boot Camp. You have such a great team. I wish you guys only the best!

    Post a Reply
    • Victor, thank you very much for those kind words and support. Yes a film is the ultimate camera test. I will pass your kudos onto the elite team

      Post a Reply
  18. Fantastic! This camera looks very promising, so long as Canon keeps the price in the realm of reality for indie filmmakers.

    Post a Reply
    • Jeff Galyan, I think they have. Remember, 4K in a DSLR, this is not cheap. This is probably the best still camera ever as well. The best of both creative and engineering arms created this baby. Stills and Motion.

      Post a Reply
  19. I’ll definitely be renting this camera when it is out. Recording at 4K and scaling/cropping to 1080 is going to be a lifesaver with stabilizing, and rearranging a frame. No external recorder. Dynamic range looks great. Filmic grain. Thanks for the BTS video!

    Post a Reply
    • Aaron, there you go. That is it in a nutshell. You are very welcome

      Post a Reply
  20. great work as usual Shane and crew great behind the production shots to,being the pro that you are knowing you use great lenses I recently came up on some old zeiss and the jena /kiev pancolor models and have you ever tried or shot with the takumur lenses together they have elevated the quality of shooting for me any comment on these lenses would be nice and again thanks for sharing knowledge and inspiring us all !!!!

    Post a Reply
    • william clark, thank you very much for your wonderful words. I love those lenses. They flare like no other. Keep on pushin’

      Post a Reply
  21. Shane,
    Thanks again for sharing your experiences at the Canon 1st Look event. What you’re doing with the HDSLR is beyond impressive. I was fortunate to meet you a couple years ago on the Bandito/Navy Swimmer shoots, while I worked on the Stills crew. I learned so much watching from the sidelines, I can only imagine how much I could learn as an elite team member.

    cheers,
    Alex

    Post a Reply
    • Alex Obleas, It was great working with you and thank you so much for you kind words and support.

      Post a Reply
  22. Your right Shane, another game changer for sure. Can’t wait till I can order one for my arsenal of cameras . Our toys keep getting better and better. Keep up the great work as always. Great job “Your Still The best”.

    Ron / Executive Producer
    A.F. Productions
    Tyler, Texas

    Post a Reply
    • Ron Whitting, yes, I think so. Yes too many toys, keep it to the story, it will always guide your tool decision. Thank you so much for your kind words my friend.

      Post a Reply
  23. Shane, thanks for sharing. After listening to PoChan’s interview over at 16×9 it made me realize the importance of planning in a short like this as well as DP and director having a great working relationship. This film DOES highlite the strengths of the new 1D but for many of us starting out, the ticket price is a bit steep. If you were shooting with the 5DMkII or even MkII, how would the visuals of the end result compare and in what way would it have impacted your lighting and workflow?

    Post a Reply
    • James B, yes, so much is about planning and capturing that vision, that lightning in the bottle. I know the price is a little high but it is 4K capture. How would it been different, well the film would have not had the color or BIT depth which is because of the 4K capture. I have shot film my whole life. Film is considered 6-8K resolution. We scan the film at 4K then dumb it down to 2K. What we were able to grab in detail of contrast on the 4K scan slides into the 2K render, detail that would have been lost is now captured. The same goes for shooting at 4K and dumbing down to 1080p. This is a powerful camera and I am not just saying that, I believe in it. How would my lighting be different, well I would have not been able to shoot the driving sequence in the car, it would have been to noisy at 6400 ISO and would have never held the contrast range of all the out of focus lights, headlights and the dark interior. The pier location I would have never been able to hold the detail in the color of the flo’s and neon. I would have burned out white.

      Post a Reply
  24. Shane,

    I must admit that this short and post have both turned me over from a skeptic to a believer of the 4K DSLR package at $15k. Taking into consideration that my 5D MKII has been my camera of choice for over three years now, even though I shoot Red, Sony, and film, I feel confident that the Canon 1DC would be a good longterm investment. However this leads to a big concern of mine: Canon already released the C300 and is now releasing the C500 and the 1DC. Had I purchased the C300 immediately after the Hollywood release ceremony, I’d imagine feeling perturbed at the news of these new cameras making the $15k C300 investment seem outdated.

    How can indie filmmakers feel confident that their investment in the 1DC won’t be outdated given Canon’s record of releasing ‘updated’ cameras in a relatively short timespan? I’d be angry if I purchased a 1DC, only do find a 2DC released half a year later that does way more than the 1DC can.

    Second question: The Kessler cineslider, could you elaborate a little on the kit you have? Do you prefer the 3ft or 5ft kit, and do you prefer a specific type of head for the kit?

    Third: The Rosco LED lite panel, how do you feel the colors looked in the footage? I keep hearing stories about the colors of LED lights appearing different in camera or in footage then to the naked eye.

    Thanks! Keep up the great work.

    Post a Reply
    • Specter, I can tell you from the bottom of my heart that this camera is amazing. I agree with all that you have said, but this camera changes everything. I have had long conversations with Canon discussing this exact point. Regarding Kessler, I like both, they are so versatile and lightweight. I have the revolution head as well as the simple low profile head that comes in the kit. The Rosco gave me exactly what I saw to eye. These lights are truly unbelievable.

      Post a Reply
      • Shane,

        Thank you for the response. Honestly that concern is the one big issue which has me considering Scarlet over the 1DC.

        Got one more question:

        Would the indie filmmaker have to update his lens kit as well with the 1DC? Or can he still get away with using his Canon EF/ L Series, Zeiss Primes, and Nikon Nikkors?

        Post a Reply
        • Specter, you can use all your old lenses no problem.

          Post a Reply
    • Thierry Dauga Image, thank you so much for all your kind words and support my friend. I will pass this onto the team and Po.

      Post a Reply
  25. Now we just have to wait 10 years more and Canon will release a DSLR that can shoot 120fps at 4k resolution

    Post a Reply
    • CinemaFreak. Lol. Canon came out with a 4k capture less than 6 months after the C300. Hopefully we will see 120 FPS in less than 2 years.

      Post a Reply
  26. Hi Shane , I am very big fan of ur work , i m from india , i need to consolidate my lighting techniques , just need the guidance from you , i m coming to US in sept. for days , if possible i can intern you for few days and learn some techniques.

    Post a Reply
    • Manoj Narula, thank you so much for your kind words. If I am around, I would love to meet you in LA at my studio.

      Post a Reply
        • Manoj Narula, you are very welcome, thanks for your support

          Post a Reply
  27. How should in get in touch with you once i m in LA?

    Post a Reply
  28. Dear Shane,

    Few weeks ago I finally saw “The ticket” at the Photokina in Cologne. I was really looking forward to it: It looked superb,congratulations! After “the ticket” I saw the short shot with the C500 and the following day I had a meeting with the Canon rep for Europe as I’m planning to direct a movie with one of these tools.
    I have some thoughts I wanted to share with you.
    1) I had the feeling that the 1DC look in “The ticket” is greatly superior to the look achieved by the C500. I shared this impression with the Canon people and they agreed…praising you as a very talented DP. Simply put, I feel that the 1DC besides having had a great dp has got a more organic look. The C500 short looks very flat, feels like video. I recently shot with the C300 and I had the same feeling…Great footage but no organic feel.

    2) I DID NOT SEE ANY GRAIN. Did you use any noise reduction in post?

    3) My only concern is 8-BIT gradient jumps. Did you notice any while working? The C300 is a great tool but as soon as I film a blue sky…the blue falls apart. I’m asking you because 8-bit gradient jumps in 4K can be pretty off putting.

    Thank you so much and thank you for all the time you spend “educating us”. I think that in my movie I’m going to officially thank you in the credits. The source of information I received through your blog has been priceless! Every post is a master class.

    Post a Reply
    • Manuel, I cannot thank you enough for all of your kind words and support. I think the look of the 1DC IS FAR SUPERIOR. There is something special inside that camera. No grain because the ISO’s are so clean. No use of noise reduction. I never have a problem with 8 BIT because Canon’s 8 BIT in this camera is very different than the C300 or 500.

      Post a Reply
  29. Hi, Shane!

    This last work – a tale in reality! You’re just doing wonders as an artist!
    I want to learn from you a lot.
    I have two small questions.

    In the video – Looking Inside the Canon1DC DSLR 4K Capture Project “The Ticket” I saw in your hands Canon 1D X. You use it for a photo or video?

    And when Laurence J. Thorpe talking about the Compact Flash cards that record footage at a speed of 500 Mb /sec, I have not heard who produce them.

    very grateful,
    Evgeny

    Post a Reply
    • Evgeny, that was the 1DC not a 1DX in my hand, stripped down in ActionCam.

      Post a Reply
    • Evgeny, thank you for your kind words, that was a 1DC, not a 1DX. Lexar has made them at 1000mb/sec

      Post a Reply
  30. Thank you for sharing such great knowledge and experience in the craft of filmmaking. Since you’ve had plenty of time with the 1dc & c300, I was wondering if you could help me a little.

    I keep going back and forth between a 1dc and the c100. I won’t state the obvious differences but just have to know:

    I’ve shot 5d2/3 for years and love the feel of the picture. I hear the c300/100 has a great pic but more video-like. Even though it’ll hurt a bit, I can just reach a 1dc and would be shooting my first feature. Would a c100 going out uncompressed keep up IQ-wise with the 1dc? Albeit lower res, would the sharpness of it’s chip keep up with the softer 4k of the 1dc? This decision is killing me and I’m trying to grab one before the end of the year. I love the look of the 1dc image but also love the ergonomics of the c100. If you only had 1 shot at grabbing either cam, what would you do? I have 4 pcs. of L glass to go with it. Thanks for any advice from a frustrated buyer.

    Post a Reply
    • Rob, you are very welcome. The Canon 1DC is the most filmic looking camera I have ever seen. There are limitations to it, but you will know all of those since you have been shooting with DSLR’s for quite some time. There is my two cents. Not a big fan of the C100 or the C300, they require a lot to make them look cinematic. The 1DC just comes out of the gate as FILM.

      Post a Reply
      • ’nuff said… Thank you Shane! Think I’ll go 1DC. In the end, the viewer doesn’t know/doesn’t care what ergonomics your A-cam had. It’s the story, then the image on screen and how it translates. I’ve been trying to escape the video-ish look since the mid to late 90′s and I’d rather be a little put out on ergonomics to achieve the look I want vs. having better ergonomics only to have the final output making me feel like I compromised for comfort. Attaching an external recorder to a C100 sort of negates some of the ergonomic advantages anyway vs. a 1DC going 422 internally. Lots of great cams to choose from these days, no doubt! Thanks for your quick input and all that you do!

        Post a Reply
  31. Thank you for your answer, Shane!
    But I’m not sure that we understand each other correctly (I mean 1D X). That’s on the same page in the top film – time 1:15 seconds.
    I appreciate your time, but about CF sards you said nothing.

    Best wishes,
    Evgeny Bragin

    Post a Reply
    • Evgeny, you are welcome. There was no 1DX, that picture is of a hand made IDC, I have never shot with the 1DX. The 1DX shoots only 1080 the 1DC shoots 4K to CF cards internally. Lexar 1000 mb/sec We used 64 and 32 GB cards. The camera records 4GB a minute. I hope this answers your question.

      Post a Reply
      • Of course, Shane!
        Thank you so much!
        If you let call you with a question – I will be very grateful.
        Opinion masters for me means a lot!
        Thanks for all that you do!

        Post a Reply
  32. Hey shane, i know your not an audio guy, neither am i, but i had one question about the ticket. I absolutely love this short and i watch it at least once a month, but my one question was, what is the audio set up or audio recorders/mics/techniques the audio team used on the ticket ?

    Post a Reply
    • Mike, my audio team was sound mixers out of Audio Dept in Burbank. They did Act of Valor, Last 3 minutes, the Ticket. They kick ass. Not sure on the recorder

      Post a Reply
  33. Hi Shane,
    Did you record the 1080 at 60p to an external recorder? if so, which recorder? Or did you find the 1080p files directly recorded to the cards fine for your purpose.
    Cheers,
    Sabyasachi

    Post a Reply
    • Sabyasachi Patra, hindsight being 20 20 I would have recorded to external recorder, probably a Gemini.

      Post a Reply
  34. Hi Shane,

    Is it possible to delete 4k clips in camera on the Canon 1D C?

    Also has Canon responded with a anti-aliasing filter in regards to the moire?

    The 1DC reportedly launches on December 31st; and I’m excited to see what other changes may be implemented by then.

    Thank you for your time.

    Post a Reply
    • neon_film, yes you can delete clips in camera. There is one in there, just not that strong. Cannot make it too strong with the MJPEG compression. I hope they are all in there

      Post a Reply

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  1. Looking Inside Project “The Ticket” | Hurlbut Visuals « rbaldizon - [...] Looking Inside the Canon1DC DSLR 4K Capture Project “The Ticket” | Hurlbut Visuals. [...]
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