The camera's lens mount options meant Brett could rely on a versatile mix of Canon lenses, including Canon Sumire Prime Series lenses for the car tracking shots on the Russian Arm. "The Sumire Primes bring a filmic feel and give nice flares," he explains. "Using a Sumire to shoot the car coming towards you at dusk with its headlights on softens the image. The highlights on the metalwork gleam and there are flares from the headlights – just what I wanted."
Brett didn't have a full set of Canon Sumire Prime lenses, so for the drone shots he switched to the Canon CN-E14mm T3.1 L F Cinema Prime, one of his favourite lenses. While the Canon Sumire Primes he used had the default PL mount, the CN-E lenses use EF mounts, so the lens mount was changed on set in a matter of minutes. Then the benefits of the Canon system really came into play, as Brett switched to two Canon super-telephoto prime lenses: the Canon EF 300mm f/2.8L IS II USM and the Canon EF 600mm f/4L IS II USM (now succeeded by the Canon EF 600mm f/4L IS III USM).
"It was amazing," he says. "We were tracking the cars charging up mountains and the autofocus just kept everything sharp. I don't care how good a focus puller you are, if you're using a 300mm or 600mm lens wide open, it's a hard thing to get right – especially on a full-frame sensor. I use AF and focus assist; it's another tool to have in your toolbox.
"I've also played with face detection and it's very clever. The Canon EOS C500 Mark II doesn't suddenly stop focusing when the shot is sharp; the focus has a roll-off which gives it a more traditional look, like a focus puller feel. You can really notice it – it just makes it look right."