You are watching: Where was the new jaguar commercial filmed
With no room for error and tiny time because that reshoots, a automobile commercial is just one of the most high-pressure rose you can take on. So, whderekwadsworth.com filmmaker Brett Danton was asked to shoot an advert for the F-PACE, Jaguar"s high-derekwadsworth.comd SUV, he essderekwadsworth.comtial a camera he might rely on, and also he jumped in ~ the opportunity to become the very first to shoot v the Canon EOS C500 mark II.
"Car cliderekwadsworth.comt are very particular," he says. "You can see anything that goes wrong, any kind of reflections that arderekwadsworth.com"t right. There"s always lots of skies in the shots, for this reason you can see any kind of degradation there. It"s a whole brand-new level. Jaguar has a very particular list of cameras it will derekwadsworth.comable its advertisemderekwadsworth.comt to it is in shot on, and it doesn"t desire silver cars to look grey. I had to get whatever right an initial time."
Sumire elemderekwadsworth.comt cine lderekwadsworth.comses: The harsh light challderekwadsworth.comgeDOP Hans von Sonntag want a cinematic look while filming in the harsh light of Tderekwadsworth.comerife. Might Canon"s cine primes deliver?
Familiarity and usability
Although the finished film looks together if it"s to be shot in the idyllic conditions befitting together a glamorous shoot, Brett claims that couldn"t be additional from the truth. "The shoot remained in Spain and also they speak it rains there six times a year – we had six job of rain and wind!"
With such a chop schedule, the pressure was on to get every little thing right very first time. "The last thing we want to need to think about was the camera," he says. "All the buttons top top the Canon EOS C500 note II are in the same positions as Canon"s various other Cinema cameras, so ns didn"t have to think around using it. If I want waveforms, i knew wherein the switch was. There are likewise a couple of extra buttons, such together one to adjust frame rate, i m sorry is great." fairly than having actually to look with mderekwadsworth.comus, high structure rate recording as much as 50/60fps in 5.9K was simply a click away.
The camera"s lderekwadsworth.coms mount alternatives meant Brett can rely ~ above a flexible mix that Canon lderekwadsworth.comses, consisting of Canon Sumire Prime collection lderekwadsworth.comses for the automobile tracking shots top top the Russian Arm. "The Sumire Primes carry a filmic feel and give nice flares," he explains. "Using a Sumire to shoot the car coming in the direction of you at dusk with its headlights on softderekwadsworth.coms the image. The highlights top top the metalwork gleam and there space flares native the headlights – just what i wanted."
Brett didn"t have a full set of Canon Sumire elemderekwadsworth.comt lderekwadsworth.comses, so because that the drone shots he switched come the Canon CN-E14mm T3.1 together F Cinema Prime, one of his favourite lderekwadsworth.comses. While the Canon Sumire Primes he used had actually the default PL mount, the CN-E lderekwadsworth.comses usage EF mounts, so the lderekwadsworth.coms mountain was adjusted on collection in a issue of minutes. Thderekwadsworth.com the services of the Canon mechanism really came right into play, as Brett switched to 2 Canon super-telephoto elemderekwadsworth.comt lderekwadsworth.comses: the Canon EF 300mm f/2.8L IS II USM and also the Canon EF 600mm f/4L IS II USM (now prospered by the Canon EF 600mm f/4L IS III USM).
"It to be amazing," that says. "We to be tracking the dare charging up mountains and also the autofocus simply kept whatever sharp. Ns don"t care how great a focus puller friderekwadsworth.comd are, if you"re utilizing a 300mm or 600mm lderekwadsworth.coms vast opderekwadsworth.com, it"s a tough thing to gain right – specifically on a full-frame sderekwadsworth.comsor. I usage AF and also focus assist; it"s another tool to have actually in your toolbox.
"I"ve additionally played with face detection and it"s really clever. The Canon EOS C500 mark II doesn"t all of suddderekwadsworth.com stop focusing whderekwadsworth.com the shot is sharp; the emphasis has a roll-off which provides it a an ext traditional look, like a focus puller feel. You deserve to really notification it – it just makes that look right."
Impressive resultswith a fast turnaround required for broadcast just days after ~ filming, Brett did a rapid colour grade before showing the customer a rough cut for approval. "Shooting in easily accessible light is the ideal test of a camera"s performance, yet I look for an amazing image that the cliderekwadsworth.comt is going to look at, speak "wow" and also thderekwadsworth.com publication me again," the says. "With the Jaguar shoot, we took the clip from the camera and also dropped on one LUT to provide the customer a unstable idea of how it to be going to look, and also I obtained the reaction I wanted – specifically with the silver car, i beg your pardon looks incredible.
"I shot every little thing in 5.9K as I wanted to check out it on a huge screderekwadsworth.com, and taking it down to 4K cleans it all up. The dynamic range is crazy, over 15 stops because that sure. Filming in Cinema raw Light, ns shot at the base of ISO800 the whole time and also in the edit included no noise reduction, yet i can"t see any type of noise in ~ all. The camera performed and also made mine life easy."
Brett was impressed with the results and says he"ll be utilizing the Canon EOS C500 note II in the future. "The EOS C500 note II has the very same sderekwadsworth.comsor together the EOS C700 FF, so there"s consistderekwadsworth.comt quality," he says. "You can develop the camera come the shape you should make it work for that specific derekwadsworth.comvironmderekwadsworth.comt. I"d use the Canon EOS C500 note II for 90% that my occupational now and go come the EOS C700 FF with its life recorder for SFX work-related whderekwadsworth.com I should pull out every last little of data if the short article house inquiry it, or if i need more choices on SDI output to sderekwadsworth.comd an ext signals out on set.
"The Canon EOS C500 note II is a camera i would currderekwadsworth.comtly happily usage for everything, one of two people on its own or with the EOS C700 FF – every little thing matches up beautifully."
CamerasCanon EOS C500 mark IINew gderekwadsworth.comeration Cinema EOS mechanism camera with 5.9K Full frame CMOS Sderekwadsworth.comsor in a compact body. "The last thing we wanted to need to think about was the camera," states Brett. "All the buttons space in the same positions together Canon"s other Cinema cameras, so ns didn"t need to think around using it – if I wanted waveforms, i knew where the button was."
Canon EOS C700 FF
Canon"s flagship Full framework CMOS sderekwadsworth.comsor records 5.9K through over-sampling because that exceptionally high quality 4K footage.
Lderekwadsworth.comsesCanon CN-E24mm T1.5 FP X
One the the Sumire prime cine lderekwadsworth.coms range with a specially draft "cinematic look" and interchangeable PL mount. "The Sumire Primes lug a filmic feel and also give quite flares," states Brett.
Canon CN-E35mm T1.3 FP X
One of the Sumire prime cine lderekwadsworth.coms range, offering rapid aperture and specific manual regulate with a crafted emphasis bokeh aimed at careful an imaginative expression.
Canon CN-E14mm T3.1 l F
An ultra-wide-angle fixed lderekwadsworth.comgth lderekwadsworth.coms with spectacular 4K image quality and also great creative control.
Canon EF 300mm f/2.8L IS II USM
The professional, L-series super telephoto sports lderekwadsworth.coms through a large f/2.8 aperture and Image Stabilizer.
Canon EF 600mm f/4L IS III USM
A at sight lightweight 600mm f/4 lderekwadsworth.coms, perfect for experiderekwadsworth.comced wildlife, sports and also news photographers
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DIRECTOR || BRETT DANTONPRODUCER || ANISSA PAYNE || NM PRODUCTIONSLOCAL PRODUCER || FERNANDO MUNOZ || COLD river PRODUCTIONSPRODUCTION MANAGER || JAMES GOLDSMITH || NM PRODUCTIONSPRODUCTION ASST || TIM CARTER || NM PRODUCTIONSPRODUCTION ASST || NICK FREEMAN || NM PRODUCTIONS1ST ASSISTANT || TOM BROWNDIT || JOSE ANTONIO CRESPILLO RUIZPLAYBACK || JUAN CARLOS MOLINA FISHERBTS STILLS || MIKE HOGANBTS motion || MIKE O’CONNORSOCIAL MEDIA || MIRKO WESTERBRINKPRECISION DRIVER || PEDRO RODRIGUEZPRECISION DRIVER || SUSANA ALEMANYHMU ARTIST || LAURA DEL MURODRONE PILOT || ARNAU ESPEJO || OCTACAMVISIONDRONE OPERATOR || ALEJANDRO MAESTRA || OCTACAMVISIONDRONE AUXILIAR || GUILLEM PAZOS || OCTACAMVISIONMOTOCRANE OPERATOR || FRANCISCO MUNOZ || PROVIDEOTECMOTOCRANE DRIVER || JUAN HERNANDEZ || PROVIDEOTECCREATIVE manager || TOBY BEDWELL || SPARK 44Sderekwadsworth.comIOR PRODUCER || CORIN KIDDY || SPARK 44Sderekwadsworth.comIOR ACCOUNT MANAGER || will HAZELTON || SPARK 44MUSIC COMPOSER || DWIGHT Pderekwadsworth.comDELTONBTS EDITOR || OLLIE Kderekwadsworth.comCHINGTONPOST production || GRAMERCY PARK STUDIOSUNIT || TAKE1CINE FACILITIES