We are in Fontainebleau, France
with two professional climbers, Moritz and Philipp Hans.
Our location is the biggest bouldering area of the world,
we brought the C500 mark II with us
and we are going to use most of the camera features.
The C500 Mark II is a very modular camera
which can be rigged very differently.
There is a useful feature for all kinds of situations.
We were able to make it very small
since we had to be very mobile while shooting.
It was also very practical because we used a one handed gimbal.
Thanks to the mobility of the camera
our small team was very flexible.
Romain was in charge of the sound,
he could simply plug the audio transmitter in and out.
Markus, as our director, was abled to just plugin his directors monitor.
Another crew member was Mustafa,
he documented everything for the ‘Making Of’.
Using a camera which is packed full with features,
while still being small, was ideal for our project.
The ‘Dual Pixel Autofocus’, which had been further developed,
is always a very helpful feature and you can really notice the difference.
The Autofocus come in very helpful
when you can’t fully opaerate or touch the camera.
Like shooting on a rock or while it’s on a gimbal.
It means I don’t have to touch the camera
and it still has a continuous autofocus.
The camera is thought out very well.
Just like the previous Cinema EOS models,
everything has its own place.
For example the built in ND-filters,
the backlit buttons
also a ‘ARRI-rosette’ for the handle
and all kinds of practical features.
This makes the usage of the camera very flexible.
Another new feature is the logarithmic autofocus.
The focus starts of very gentle and also slows back down.
You end up with a very soft and natural focus.
If a situation became to difficult
we used the manual focus guide,
for manual focus.
The visual display of the manual focus guide
confirms where the focus is.
Whether you are in the back focus or the front focus
and allows much softer focussing.
Another great property is the user interchangeable mount.
This enabled us to switch from EF to PL on set
and we were abled to shoot with Sumire lenses as well.
The camera also has an electric image stabilizer
this was particularly helpful when we had to be quick
or when you don’t have the possibility to use a gimbal or slider.
Especially using Cine lenses this is very helpful.
Thanks to this feature we were able to get steady footage.
There was a clear difference of the image look
because of the new full frame sensor.
We filmed using both codecs
the Canon Cinema RAW Lite in 5,9K Raw
aswell, as the 10bit MXF Codec
The 10bits are very useful when you’re shooting a lot of footage
because it reads out the full 5,9K sensor and oversamples
you end up with a very clean and sharp 4K image.
Every now and then RAW footage can be very helpful
in order to be more flexible in post production, for extremer shooting conditions.
Or to be able to crop the framing.
There was also a kind of interview scene,
where we used the ‘4 Chanel Audio Function’.
We also recorded back ups on Chanel 3 and 4.
It is great using a camera with a lot of options and possibilities
for the audio recording and of course, everything is ‘On Board’.
In conclusion you have a small housing
with all of the important connections
and if you need more,
you can always use different modules for various situations.