[![Canon EOS 5D Mark II camera, with Canon EF 50m...](https://i1.wp.com/upload.wikimedia.org/wikipedia/commons/thumb/1/1c/Canon_EOS_5D_Mark_II_with_50mm_1.4.jpg/300px-Canon_EOS_5D_Mark_II_with_50mm_1.4.jpg?resize=240%2C205 "Canon EOS 5D Mark II camera, with Canon EF 50m...")](https://i2.wp.com/commons.wikipedia.org/wiki/Image:Canon_EOS_5D_Mark_II_with_50mm_1.4.jpg)
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News reached me (via the excellent Newspaper video group) that t[he season end for House was shot on a Canon 5D Mark II](http://www.petapixel.com/2010/04/09/house-season-finale-filmed-entirely-with-canon-5d-mark-ii/). According to the [petapixel](http://www.petapixel.com/) blog [Greg Yaitanes](http://www.crunchbase.com/person/greg-yaitanes "Greg Yaitanes"), the director of the show answered questions on twitter about the show. Most surprising for me was the suggestion that he didn’t use any special lenses or rigging.

When I posted a link to twitter, video whirlwind David Dynkley Gyimah commented:

Arun Marsh commented:

My reply.

It’s not the only show that has used the video side of DLSR’s as part of their shooting kit. Sci-fi series Caprica sneaked in a few shots taken using a DLSR.  Notes on video waded through a number of the shows podcasts to confirm the process and highlighted a nice exchange between the shows exec-producer David Eick and director Jonas Pate:

**Pate: **This opening sequence was not shot in [the] three camera style, it was actually shot with a [SLR]. And we put a funky little lens on the front of it called a Lensbaby and we shot the whole thing incredibly quickly in probably…I dunno, 30 minutes. Increasingly the digital technologies are allowing camera guys to work quicker.

** Eick: **Well yeah, what it does is it strips any of the mystique of the so-called art of film making, which is to say that anyone listening to this could probably make their own episode of Caprica if you study these podcasts long enough. The technology really has simplified and shrunk.

I heard a little of Dave’s response in that* “…strips any of the mystique of the so-called art of film making”.* And it’s a familiar refrain.

The idea that low-pro/pro-sumer equipment can push out pro-quality content is an argument we are more than used to in the world of videojournalism. Give anyone a camera and they are a film maker right?

Maybe not. It still takes a story and people passionate about telling that story to make great video whether it’s House or Video journalism. Kit like the Canon makes it easier for the ‘pros’ to do their job for less and (if you delve in to the caprica podcasts) what they feel is a more liberating and creative way.

In terms of video journalism, the canon may not be the piece of kit that opens the floodgates to the amateurs. But it does show that the walls are coming down.

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