Entering the 4K era
The support crew used their third camera, the Canon EOS 5D Mark II, to film scenic shots of the Alps. Because the menus across the three Canon cameras are relatively consistent and share many settings, the transition from one camera to another was fairly seamless.
Icarus was shot in 2K, with the Canon EOS C300 and Canon EOS C300 Mark II shooting C-Log for maximum dynamic range, and that footage was outputted to an external monitor to help gauge exposure. C-Log is also available on the Canon EOS 5D Mark IV via a firmware upgrade, making the footage easy to marry with footage from Cinema EOS cameras. A base ISO of 800 was used across all cameras to keep any noise at bay.
The ability of the Canon EOS C300 Mark II to shoot at 60fps in HDS was ideal for the slow-motion cycling footage. "Shooting in slow motion with the EOS C300 Mark II is exponentially better, in terms of picture quality and the lack of artefacts. It's become a much more viable slow-motion camera,” Jake says.
"There's a lot of great things about the camera, such as the colour rendition, and the ability to shoot slow motion and at 4K, especially now so many platforms are asking for that amount of definition," he says. "The camera's still very affordable, and you can either build it up or hold it in your hand, which is an amazing asset. In so much of documentary filmmaking, the less you can see of the camera, the more viable it is to use."
Jake's choice of Canon cameras and lenses helped him and Bryan make a film that not only packed a huge punch in terms of message, but also looked great. The world took notice, and the rest is history.