I'm Carys Kaiser. I'm a shooting producer-director and TV camera
operator. Today, I'm going to show you how I would work in a
space that's challenging, and give you some hints and tips on
how you can get the best out of your camera. Day to day, I make
films for all sorts of different reasons. Sometimes it's branded
content. Sometimes it's corporate videos, or
occasionally, I'm out shooting news. I am a creative person.
But I really enjoy the technical aspect, as well, of filmmaking.
Each project is different. So I get to think about how I'm going
to light a space, how I'm going to tell that story in a visual
way. Sometimes you'll be limited, and sometimes you've
got a magnitude of options. The first one we're going to look at
is the EOS C70. What's brilliant about this camera is it's got
the same sensor as a C300 Mark III, but it's compact, and it's
a true cinema camera. The C70 offers 16 stops of dynamic range
and what's really good about it is with an adapter, you can
start to use the EF mounted lenses as well. What's excellent
about the EOS R5 is that it films in 8K, which is perfect
for a small studio set up. You can crop in in post production,
which gives you lots of options. Let's jump into the space. Let's
look at what the challenges are. We're going to look at light,
we're going to look at lenses, and we're going to look at
positioning of cameras. What are those challenges, and what can
we create in that space. So let's see how we're going to
make this work. This is a beautiful space. But it's not
without its challenges. We're going to set up for an
interview, a talking heads with two cameras. In a space like
this, I'm going to have a little wander around, I'm going to have
a look and think about where I might put my subject. Now
working alone can be quite difficult, so give yourself time
to set up. Don't worry, if you're not very technical and
thinking about what lens straightaway, sometimes you just
have to have a look. And you'll see from there, whether you've
got what you need. This is the 0.71x mount adapter. So we're
going from the RF mount to the EF mount. And we're going to
look at what a cine lens looks like. Personally, I'm looking at
this lens, it looks beautiful. But I actually think for a
intimate sit down interview it's just a bit too wide. This is the
RF28-70mm. Okay, this is it. This is how I want this to look.
Your second camera is just as important as your first camera.
It's a rookie mistake to put two tripods close together, because
we're tight on space and then do the same shot, what you want to
do is do something different. And because I'm on my own, I'm a
one person production team, I might not be able to monitor
this camera. So what's quite good about the features in this
is that you can use the autofocus. So if you have a very
active subject, and they're moving around, it's going to
remain in focus on that person. Now, in this building, there are
some beautiful chandeliers, and there's also natural light
coming in, across the piano. So what I'm going to do here is I'm
going to set up some light just to give a little bit of a boost,
a little bit of light in their eyes. Okay, I'm happy with that.
So now my final adjustments are going to take place when my
subject comes in. Other things to think about before you get to
location: how are you going to record the sound? A good tool to
use is a gun mic on top of one of the cameras, and a personal
clip mic on your main camera. In planning your shoot, also, what
is really important is thinking about the questions because
people take a while to warm up. Make it a real connection
between you and the subject by thinking about the questions
beforehand. I've really enjoyed sharing my tips with you today
and hopefully you found new things and new ways of thinking,
but the best advice I can give to you was the advice that was
given to me. Just go out and start making things and each
time, think about what lessons you've learned. And that's how
you move forward in your career.