The Making of 'Reverie'

Prolost posted details about Reverie, an impressive new video shot with Canon's 5D Mark II by Vincent Laforet (direct link to the Canon site). Now there's a behind the scenes video on the making of Reverie; it's not super informative but Laforet adds:

'if the Canon still camera team and the video team have come together to produce the Canon EOS 5D MKII - the next HD camcorder they come out with - may just floor us all… these are very exciting times - to be someone who focuses on “creating” as opposed to the “process” and “technique” of making your vision match the “reality” of the tools you have at your disposal.'

Here's a web version of Reverie. The QuickTime version is much better, and again you can find it and detailed comments though Prolost:



Update: The Full-Resolution Video Clips for Reverie were posted by Canon; Vincent Laforet’s Blog has the details at Original “raw” clips from “Reverie” Now Available for Download.

Update 2: Adam Wilt posted with humorous perspective on the SF Cutters list:

Does the EOS 5D MkII change everything?

Sure! Just like (in my short time following the business) Super8mm, AV-3400 Portapaks, Super8 Sound, Trinicon cameras with Betamax portapaks, one-piece camcorders, the ECS-90, the CMX 6000, EditDroid, VHS-C, Video8, Montage Picture Processor, Avid running on Apollos, Hi8, TAO Editizer, DV, Lightworks, the HDW-700, Panasonic WJ-MX12, FCP, the HDW-F900, Varicam, Vision2 Expression stock, the DVX100, HDV, P2, Vision3, Viper, Dalsa, SI2K, RED ONE, and XDCAM EX HQ (sorry if I missed your favorite world-changing revolutionary technology / camera / format / film stock).

More, better, and cleverer tools? Bring 'em on! Expecting the tool itself to cause an explosion of creativity and talent, and to turn the world upside down? Maybe not so much. Evolution, sure. Revolution? Um, hmm, erm...

As to some of the more breathless reports that the EOS 5D MkII eliminates the need for (a) lighting and (b) truckfuls of expensive cine lenses, tripods, dollies, crews, and such?

HD was supposed to have done away with lighting already, right? Turns out, it's not about candlepower, it's about control.

And with Canon and Nikon adapters readily available for the various 35mm relay lens adapters, RED ONEs, etc., how come Zeiss is several months behind making $15,000 Ultra Primes and Angenieux is scrambling to churn out enough $47,000 Optimos to meet demand? Perhaps there are *reasons* why cine lenses are different from stills lenses; could that be it?

Tripods & dollies & cranes, oh my? Don't need 'em--if you shooting "Blair Witch Project", or "Cloverfield", or "Medium Cool", or any "Bourne" film, or the opening shot for "The Bridegroom, the Comedienne, and the Pimp". If you're doing the *rest* of "The Bridegroom, the Comedienne, and the Pimp", or "Citizen Kane", or Wavelength", or "Michael Clayton", or "Casablanca", well, not sure a handheld 5D is gonna rock your world.

Adam Wilt / filmmaker, Meets The Eye / writer,
provideocoalition.com / Mt View CA USA


Update 3: Vincent Laforet spoke at ILM Nov 13th.