You don't want to influence what's playing out in front of you, but to try to capture those moments naturally. "One of the core principles of observational filmmaking, I think, is that you should minimise your presence. "I love how customisable the EOS C300 and EOS C500 cameras are," Daniel says. There are other features of the EOS C500 Mark II that Daniel highlights as being important for documentary shooting in fast-moving situations. It means you can correct any problems in post-production." If the light suddenly changes then the exposure might be off by a stop or two in either direction, so having that dynamic range is really useful. "When you're filming a protest, for example, you're rushing and under a bit of stress. "Having 15+ stops of dynamic range to play with in post is just great," Daniel says. The camera's dynamic range was the other big benefit. Suddenly, filming in a car feels much more spacious." That full-frame sensor when paired with a 24-105mm or 24-70mm L-series lens gives you so much more room than on a crop sensor. Frequently when you're filming documentaries, you're shooting in cramped conditions, such as in a car or a small room. "The first reason was its full-frame sensor. There were two main reasons for choosing the EOS C500 Mark II, he explains. He now uses an EOS C500 Mark II, with an EOS C300 Mark III as his B-cam. When he was considering upgrading from the EOS C300 Mark II, he tested out a number of different cameras. After that I moved to the EOS C300 and EOS C100, before mostly staying with the EOS C300 Mark I and Mark II." "So that was my first camera of choice at that time. "I was massively influenced by a surge of online documentaries in the early 2010s, and a lot of those were being made on the EOS 5D Mark II," he says. So, if you've got 20 minutes in total and 15 minutes of that time is spent filming with a contributor, you know you'll have five minutes at the end to spin around the location and try to get the editor as much material as possible to piece the sequence together."ĭocumentary TV shooting with the EOS C500 Mark IIĭaniel has shot almost exclusively with Canon cameras throughout his career and began making documentaries with the Canon EOS 5D Mark II (now succeeded by the EOS 5D Mark IV). "A lot of the time in documentary filmmaking you might have access to a location for a very limited amount of time, for whatever reason. "I approach a shoot with the idea that I'm filming for an edit, and working through a mental checklist of shots," he says. He's taken his cameras to many countries around the world, and in 2022 he won two Emmy awards as part of the team behind the VICE News documentary Inside the Battle for Jerusalem.ĭaniel says his background in post-production has benefitted his documentary TV shooting. After working as a video editor for about five years, he befriended people who specialised in conflict filmmaking and he hasn't looked back.ĭaniel has now been shooting documentaries for more than a decade, filming and directing content for HBO, VICE, the BBC and more. Passionate about photography and photojournalism as a teenager, Daniel went on to study film production at university, where he focused on documentary filmmaking.
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