In mid April, I had the honor of being the first cinematographer to put the Canon 5D Mark III to the test on a feature film, David Wexler’s “Anchors,” which stars Blue Bloods’ Will Estes and The Chernobyl Diaries’ Devin Kelley.
In this post I’ll give you the lowdown on how the eagerly awaited update to the camera that started the DSLR revolution performed under pressure…serious pressure. And since plenty has already been said about the differences between the Mark II and Mark III by experts like Philip Bloom, Vincent LaForet and Shane Hurlbut, I won’t spend time listing them, but will instead focus on how the camera performed in specific situations and address the differences as they come up. Cool? Cool.
The eagerly awaited 5D Mark III. Can it stand the 'feature in eight days' test?
DP David Cavallo on the set of Anchors with the 5DMKIII rig.
As some of you probably know, at the time of the shoot the Mark III had been out for less than a few weeks, and although I hadn’t really had the opportunity to do much more than casual testing around the Endless Picnic office and at home, my extensive on set experience and thorough testing of the MKII (see EP’s tests here) led me to believe that I would be comfortable with the camera on a tight shooting schedule–if it behaved similarly to its predecessor. (More …)
uhhhhhhh, and 
Ron Egozi 7:28 pm on March 15, 2012 Permalink
The video’s an excellent reflection of teen dreams and pop culture that inspires those dreams.
uhhhhhhh 12:18 pm on January 15, 2013 Permalink
Fact is this is a tastefully done video, and a scathing social critique if it was the director’s intention. The tween girl is merely reflecting the hypersexual female role that society has already placed her in, while the tween male behind the camera fills the voyeur role perfectly which he is also expected to fill.
What makes people so uncomfortable is the perspective gained in the bedroom while these supposedly innocent youths explore adult ideas most likely shoved onto them by a ruthless world. These kids are showing an adult internet audience that, yes, youth is paying attention to them, their media, and the hypersexualized, heteronormal roles they fill.
The video in my opinion shows that these kids do understand that we objectify each other, and misguidedly believe this is a standard to live to rather than a cultural fault. But most likely the childish cat video loving, idiotic masses on Youtube can’t fathom those deeper concepts, and instead only accuse the filmmakers of making a piece of child pornography—which this clearly is not.
Maybe the video would’ve been easier to digest if there were a laugh track placed in? After all audiences were able to stomach the cringe inducing climax of Little Miss Sunshine cause it was funny, right?