1. This is a montage I cut of footage I shot over the course of 4 weeks for the BBC/History Channel series "D-Day to Victory". We shot with Phantom Gold & Flex cameras as well as Weisscam and GoPro and 5D. We used 4 Phantoms on all the larger set ups to capture the event in one take, since they could not be repeated.

    Sim Digital Toronto provided cameras and support for us, including the custom fibre optic hub and network to control and capture from the Phantoms in our bomb-proof bunkers which were often 400-800m away - beyond the range of standard SDI and ethernet.

    Directed by Crispin Reece. Graded by Peter Lynch

    Max McDonald of MaxFX supervised all of the explosives and live ammo gun work, as well as worked with us to create the custom blast housings for our cameras.

    Andy Berry was the brilliant production designer who designed and built all of the amazing things we destroyed.

    We used Cooke Mini S4 and 5i lenses. Everything you see is 100% real high order explosives, no VFX were used. This is all high order explosives, detonated under controlled conditions in CFB Gagetown, New Brunswick, Canada - Canada's largest military base. The scenes with snow were shot in the winter at MREL ballistics testing facility outside of Kingston, Ontario.

    # vimeo.com/71073422 Uploaded 63K Plays 21 Comments
  2. All of the footage was shot in raw cinema DNG with the Blackmagic Pocket Cinema Camera.

    I photographed Zion National Park a couple of weeks ago with a beta build of the raw firmware for the Blackmagic Pocket Cinema Camera. I don't own many micro four thirds lenses and planned to shoot with an adapter to use some of my Canon glass, but I just never ended up doing that. Instead I used the Pansonic 14-45mm lens exclusively on the pocket camera. I also shot with my 2.5K Cinema Camera and with a hacked 5d III in raw, so when I needed a different lens I'd use one of those cameras instead.

    The raw footage from this tiny camera is impressive! It's amazing what Blackmagic Design has accomplished. The quality is very similar to my Cinema camera. With the right lens set I believe the pocket camera could easily be an A-cam even over much higher priced cameras. That's speaking strictly about image quality.

    The tiny size of the Pocket Camera opens up so many possibilities. You can always build a camera up by making your rig larger, but you can't go the other way.

    I mentioned that I also shot with the 5d III in raw mode and I'm in awe by what the magic lantern team has been able to do! I haven't done side by side testing or anything super technical, but so far I prefer the raw footage from the pocket cam over the 5d III raw. It's hard to say exactly what it is, but the 5d III raw retains that Canon look (surprise!) which is nice, but feels thinner than footage from Blackmagic cameras, which in my opinion produce a nice rich negative.

    Music: West by Hammock

    # vimeo.com/79337896 Uploaded 22.3K Plays 41 Comments
  3. Camera: 5D mark3 RAW

    Uploaded 975 Plays 2 Comments


Matúš Michalko

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