Creating a vision, seeing that vision through and delivering a quality final product despite a modest budget and crew – music video producers certainly don't have it easy. With the pressure on, it's critical that camera gear delivers the goods, especially for solo DoPs such as Michael Janke and Belrie who often don't have the luxury of helping hands.

Here, Michael and Belrie explain in more detail just what it is about the Canon EOS C70 that makes it such a reliable camera for music videos.

The Canon EOS C70 uses the same Dual Gain Output (DGO) sensor technology as the Canon EOS C300 Mark III, delivering 16+ stops of dynamic range when shooting in Canon Log 2. "For me, the main draw of the EOS C70 is the DGO sensor," says Michael. "What I appreciate most is its quality in low light. Even at high ISOs or in underexposed areas of an image, there is such a smooth drop to black – I haven't had that before in a camera anywhere near this price point. I can shoot darker and know that I have this detail going down into the shadows – that was what I was really searching for. This sensor felt so much closer to how I perceive light with my eyes."

The EOS C70's extra-wide dynamic range allows margin for error with exposure, while 4K 4:2:2 10-bit internal recording using Canon's XF-AVC codec at up to 410Mbps (or 225Mbps using MP4) provides high levels of flexibility for managing image quality and colour grading in post-production.

"I don't second guess on location: I'm shooting C-Log 2 almost all the time," says Belrie. "When you expose correctly, the EOS C70 gives a great quality image. I don't overthink colour grading. In the edit, I want to replicate that natural feel from out in the field. I usually use the Rec. 709 profile and then from there I will adjust the separate clips, adding the right amount of saturation and contrast – with these files you can push the contrast and saturation all the way."

The Canon EOS C70 was the first Cinema EOS camera to feature Canon's revolutionary RF mount, which incorporates cutting-edge technology for improved optical performance. There are plenty of high-quality RF lenses to choose from that include features beneficial to video, such as stabilisation and minimal focus breathing. Regular firmware updates are continuously expanding the range of EF and Cine Prime lenses that are are compatible with the Canon Mount Adapter EF-365bet体育投注_365bet体育娱乐场-app官方下载@ 0.71x, and the lens mount opens up other Canon lens options via third-party adapters, including some, such as the PL mount Sumire Prime range, which were previously only available on much more expensive cine cameras.

For filmmakers such as Michael, it's crucial to capture the attention of music video connoisseurs by creating a unique look. "The RF mount with its short flange back opens up a whole world of lenses and ensures I get the best quality from them, whether it be my vintage FD lenses that give me that quirky look I love so much, or a host of full-frame EF lenses," says Michael. "The RF mount means you can use this fairly inexpensive camera with even high-end cinema lenses. It's almost cheating to have so many lens options on one camera."

As a Cinema EOS System camera, the EOS C70 comes equipped with a host of professional tools, such as built-in ND filters up to 10-stops, waveform monitor and false colour, standout battery life, plus electronic image stabilisation combined with optical stabilisation, depending on the lens in use.

Storytelling in music videos relies heavily on B-roll, for which slow motion is a powerful tool. "An underrated feature on the EOS C70 is that you have the ability to dial in custom slow-mo frame rates," says Michael. "So, as well as the 120fps for 4K, you can dial in, say, 96fps. When I want to slow things down only a little, I love 48fps as opposed to 60fps. For music videos this is huge because we often rely on pretty slow-mo capture – and I love having more options to choose from."

Belrie also uses slow motion: "I want to get a wide array of shots, from handheld to stabilised shots and slow-mo," he says. "I shoot a lot at 120fps – that was a big selling point of the camera – and I've configured the EOS C70 so I can switch quickly between slow-mo and 24fps. You always need B-roll for music videos: it's a crucial component."

The EOS C70 is much smaller and lighter than other Canon cine cameras, but it isn't short on features. "It's not as heavy as it looks, plus it's also possible to rig it up," says Belrie. "Ergonomics-wise, it's the perfect middle ground between Canon cinema cameras and DSLRs. You're getting everything that these bigger cameras have in a smaller body. It's very discreet and people underestimate it, especially when they don't know its image quality and what it can do. Yet it's still big enough to fascinate clients."

The EOS C70 is also well suited to long days on location. "The compact nature and form factor of the EOS C70 allows me to use it easily on a small gimbal, or handheld all day with no problems, and I don't even think about needing to put the camera down," says Michael. "For the shoot for Schemers, we hiked 20km in a day at -15°C in the Rocky Mountains, three crew all sharing bags to carry equipment, knee-deep in fresh snow. I'm carrying the EOS C70 the whole time, very slim without additions, just using the Canon handle on top, no cage or extra batteries. It's also seamless to switch between setups."