Ryan O. Its more like saying, in a pinch a DoP might use a Canon 5D...... But no not saying, they will shoot Star Wars on it.
I second the C100 and go for a Canon 24-105 F4 L, its quite a bit cheaper and has a little extra reach than the 24-70 F2.8. Its not as fast but that should generally be ok, Pair it with a nifty 50 and you should be set.
The C100 is light enough to work with any of your DSLR gear and and the batteries last much much longer and for interviews this cannot be underestimated. Also XLR audio will save you on buying a recorder. If you find a MK1 even if its second hand you can pick them up quite cheap
I was close to tears watching that when it first came out. There was just something so sort of spiritual in the freedom of the ride, the like for that 4 minutes it was just a man and his bike and the trail in front of him.
Steve Oakley is my favourite cinematographer of all time. OF ALL TIME!!
I can see what you mean about the colour not really being there in the footage before the grade. What generally happens is that the cinematographer will use a LUT or a picture profile to view the image as close as possible to the graded image. All the colour that is in the graded image is on set and in the production design, however the camera records the a flat image to preserve the largest amount of detail.
A LUT is an in camera colour grade that is viewable on a monitor but not recorded on the footage.
One thing i will say is that the flat image can falsely lead you into not worrying about colour and specific shades or textures but as soon as you push the contrast back into the image in the grade, aaaalllll of the inconsistencies will become visible. And this can open up the rabbit hole of colour grading and matching the grade shot to shot. It is actually much easier to match a low contrast, flat or mostly ungraded image shot to shot, than a punchy saturated image because the colour becomes critical. I really think this led to the glut of washed out images that was all the rage not long ago.
I hope that helps a small amount.
The last scene came together really well with the music and our editor being able to comp in the lead actress since she wasnt available at the same time as the extras. We had access to a RED Epic through the University but swapped out the CP.2 lenses with an old set of Ziess Super Speeds. Such a nice set of lenses although they lack the contrast of some other lenses.
The mood piece was really fun to put together and has been really useful to get the mood accross to the departments