Case Study: NBC Sports (Canon Broadcast and Cinema lenses)


We started with Canon I think in
the 1996 Games; it’s probably 12 or 13 Olympics ago. ♪♪♪ ♪♪♪
For the viewer, they probably
think the Olympic planning For the viewer, they probably
think the Olympic planning starts a few weeks before
Opening Ceremonies like a football game. But in reality
it’s a three to four year planning cycle to get ready for
any one Games. ♪♪♪ ♪♪♪
My specialty is going to the
host nation and showing off the My specialty is going to the
host nation and showing off the sights, sounds, and culture of
the host country. ♪♪♪ Shooting the Olympics is special
because it’s not just working with athletes. It’s, it’s
shooting the host countries, it’s exploring the sights and
the sounds and the food and the culture and the dance and the
music of a host country, so that we can accurately tell that
story and introduce that country to the American audience. ♪♪♪ You know, doing the Olympics or
doing one of the pre-shoots, we only have one chance to get it
right. I mean a guy is gonna win a gold medal and it’s not gonna…
we’re not going to do a redo. So keep in mind the camera
guy might be shooting through a two-inch viewfinder and he’s
lucky to be in focus let alone know that the edge is in focus
and the colorimetry is right and there’s no lens aberration.
So all of those things are things that we do–we know that
Canon is going to have solved before we ever get to the shoot. I’ve been a Canon fan for a long
time. For my still photography I use Canon, so it’s great that
Canon now has a series of lenses to be able to use for all the
Cine cameras that are available. So my favorite lens is a 30-300.
It’s amazing. Especially doing documentary style shooting where
you’re trying to capture little moments, to have that range is
really helpful. As a specialty camera operator,
I primarily use the MOVI. So my, As a specialty camera operator,
I primarily use the MOVI. So my,
my go to lenses are these Canon
Cine Primes. They’re sharp, my go to lenses are these Canon
Cine Primes. They’re sharp, they’re well balanced, I can
swap them easily. And in a fast they’re well balanced, I can
swap them easily. And in a fast
kind of documentary setting,
we’ve got to be able to move fast. kind of documentary setting,
we’ve got to be able to move fast. ♪♪♪ The Canon support guys, they
usually send two or three sometimes four guys to float
between the IBCs and the venue, so that no matter what happens
whether it’s a Winter Games and cold and the grease is getting
stiff and the guy can’t focus, or whether there’s an element
that’s come loose, they can fix anything on the spot. The Canon support at the Olympic
Games is unparalleled. And it really makes a difference as
shooters when we’re trying to achieve that, you know, we’re
trying to be creative at the top of our game. If we don’t have
equipment that is right there with us, we’d suffer. with us, we’d suffer.
It really gives me a lot of peace of
mind to be able to count on the It really gives me a lot of peace of
mind to be able to count on the It really gives me a lot of peace of
mind to be able to count on the
equipment, so that when I’m here
I can do my job and just equipment, so that when I’m here
I can do my job and just observe, record, and share. ♪♪♪

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