5D Mark II Team

Improvements & Gear

F1 Ad Shot with 5D Mark II

Formula 1 Trackday summit 2010
OnBoard dpt.

RTV GmbH has produced an amazing footage, shot on Formula 1 race tracks worldwide between 2006 and 2010 with Canon HDSLR, ARRI 35mm & RED cameras.

Emanuel Maximilian Schwermer, BVK, who worked on this and many other projects, has recently told some details about it:

“We shot all the onboard stuff with up to three Canon 5D Mark II rigged on a single F1-car. We used also little remote heads invented exclusively for this shooting by Thomas Roim (see the credits). Shot with superFlat gamma and Nikkor primes with Novoflex adaptors, graded in Apple color.

There is a bit of behind the scenes stuff. Some Making of Films of our F1 productions the last 8 years can be found on my Homepage. You can also find some articles written about this F1 productions, few in english, most in german.

The 5D2 onboard stuff is featured in the latest articel on my homepage in the german magazin Professionl Production.

The car-mounts we used were all custom made. Our KeyGrip Thomas Roim of www.movie-cars.de built them together with the technicians of the race teams. Also the little remote (auto-pan) heads were invented especially for the F1 productions by Thomas Roim.”

You can find the mentioned article on the Archive section of Emanuel Schwermer’s website (check at “Publications” near the bottom of the page: “Published in the german film/tv magazine “ProfessionalProduction” (issue 05/2010)”).

Picture of the custom made car-mount (credits: Professional Production)

MORE TECHNICAL DETAILS

It is well worth to mention that there are many technical difficulties when filming on cars running at such high speeds. To mention some of them: strong vibrations, very strong G-forces, wind forces, etc.

According to the magazine article, to get those amazing shooting perspectives Thomas Roim specifically developed a small electronically controlled support, where one of the three Canon 5D Mark II was mounted. This provided an impressive pan in dynamic perspectives.

They used specially adapted manual Nikon Prime lenses (16, 20, 24, 28, 35, 50mm). More modern lenses with auto focus and without manual aperture ring were not suitable for this project because their internal mechanics and electronics suffered the huge vibrations in the F1 racing car and didn’t work properly.

For more technical details about shooting and post production, please check the full article in the german magazine.

FILM CREDITS

Footage produced by RTV GmbH

Director of Photography: Thomas Stokowski
OnBoard Photographer: Emanuel M. Schwermer
Editor: Felix G. Rauch
Sound Design: Ike D. Aligbe
OnBoard Rigs & Speedcar: Thomas Roim
Camera Equipment: FGV Schmidle GmbH
Russian Arm: Filmotechnique

Driver in order of appearance:
-Timo Glock
-Niko H├╝lkenberg
-Rubens Barrichello
-Jarno Trulli
-Nico Rossberg
-Michael Schumacher
-Ralf Schumacher

November 3, 2010 Posted by | Articles & Tech Info, EOS 5D Mk II, News & Info, Shot w/ HDSLR | , , , | 2 Comments

HDR Video with 5DMk2

Contents:

  • HDR Video using 5D Mark II
  • Watch Video Demonstration
  • Comments

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HDR VIDEO USING 5D Mark II

This is a fascinating demonstration of the results that can be achieved with a proper setup and workflow to get HDR (High Dynamic Range) video with two Canon 5D Mark II. Although it could also be done using any DSLR with Full HD or HD Movie/Video capabilities like these ones.

Some words from the authors:

This video highlights several clips we’ve made using our new High Dynamic Range (HDR) process. Video is captured on two Canon 5D mark II DSLRs, each capturing the exact same subject via a beam splitter. The cameras are configured so that they record different exposure values, e.g., one camera is overexposed, the other underexposed. After the footage has been recorded, we use a variety of HDR processing tools to combine the video from the two cameras, yielding the clips you see above.

HDR Video provides filmmakers with many exciting new opportunities. Not only can HDR video create interesting effects, it can also allow for even exposure where artificial lighting is unavailable or impractical. For example, when a subject is backlit, one camera could be set to properly expose the subject, the other the sky, resulting in video with perfect exposure throughout.

We will continue to develop and improve the HDR video process for better results and efficiency. For more information, check out our website sovietmontage.com.

WATCH VIDEO DEMONSTRATION

Full credits to: Soviet Montage

COMMENTS

There are lot of people experimenting, testing and developing new techniques with these amazing HDSLR cameras. We’ll closely keep watching their works and reporting to the community.

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September 11, 2010 Posted by | Articles & Tech Info, Shot w/ HDSLR | , , , , , | Leave a comment

   

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