DP Gale Tattersall Highlights The Canon EOS C300 Mark II At Cine Gear
Redesigned with the help of user input, the EOS C300 Mark II Digital Cinema Camera helps to deliver more creative flexibility for professional studio motion picture production applications, as well as independent productions, TV dramas, commercials, news features, sports and more. Photo Credit: Canon
Gale Tattersall is eager for the release of the Canon EOS C300 Mark II Digital Cinema Camera. While the camera made its debut at NAB in April, 2015, distribution of the product has not yet begun. The cinematographer behind film and television fare including “Pushing Tin”, “The Addams Family”, “House M.D.” (work that earned multiple ASC nominations) and “From the Earth to the Moon” (work that presented Tattersall with an Emmy nom) used the C300 Mark II on a promotional video and was immediately sold on the camera’s abilities.
“I’m pushing to get an early release. I know they are making progress, but I would like to be using this camera as soon as possible,” said Tattersall.
A feature Tattersall is particularly keen on is the newly developed 8.85 Megapixel Canon Super 35mm 16:9 CMOS image sensor. The sensor supports up to 4K (DCI) recording with a maximum resolution of 4096 x 2160 pixels and a high speed readout that provides a reduction in rolling shutter distortion. This, along with a an expanded dynamic range of 15 stops and an improved Dual Pixel CMOS Autofocus has, in Tattersall’s opinion, created a digital camera that is most like the Arri Alexa.
Per a Netflix requirement that its content be shot in 4K, Tattersall was requested to shoot the provider’s comedy “Grace and Frankie” on the Red Dragon. Recognizing the camera performs well in certain conditions, he feels the EOS C300 Mark II will be a better choice for future seasons due to the camera’s sensor and dynamic color range.
“The Red Dragon is better suited for ‘House of Cards’ but with our open lighting and black on black (fabrics against background), it was a problem for the camera. It turned everything into a blob; it was hard to define details,” said Tattersall.
Tattersall had voiced his concerns regarding the camera choice when he joined the project, however with a budget in place and a tight schedule; there wasn’t an opportunity for a full camera test. While color correction was done in post, the production crew noted a number of changes they could make in production design, costumes in addition to utilizing a different camera to enhance visual quality.
“Sometimes it takes a season to figure out what should be done. This is kind of normal,” said Tattersall. “Next season will be better.”
Tattersall observed the EOS C300 Mark II had tremendous ability to handle shadows – a feature that would have greatly aided “Grace and Frankie.” Most digital cameras don’t capture beyond 12 stops. The 15 stops captured by the EOS C300 Mark II places its images in a league with film stock.
Tattersall and the team who accompanied him on the EOS C300 Mark II test shoot: 1st AC Tony Gutierrez and Steadicam Operator Ari Robbins will present a special seminar at CineGear LA Saturday, June 6th at 12:45pm. To learn more about this special presentation, please visit:
To learn more about the EOS C300 Mark II, please visit: