Full throttle: filming powerboats with a CN-E18-80mm T4.4 L IS KAS S lens

"I needed a special camera to cope with all the types of filming I do, and the Canon EOS C300 Mark II has been perfect," says Jonathan. "Then, when the large-format Canon CN-E18-80mm T4.4 L IS KAS S lens was released, I knew it would be game-changing. It's a very compact and affordable high-end servo zoom."

The Canon ZSG-C10 remote zoom grip, designed specifically for use with Canon's CN-E Compact Servo lenses, enables super-smooth remote activation of the zoom servo and one-shot AF. Connected to the lens body via a 20-pin cable, it can be operated while mounted on the lens barrel, or detached from the lens and used handheld or mounted to your rig. The versatility of the servo grip makes the lens suitable for a whole range of shooting situations.

"Being able to operate the zoom with the grip, while the focus and iris is automated through your camera, is incredible. Using it on the motorised gimbal has enabled me to work in jobs that previously couldn't support the budget for a professional gimbal system, so it's opened up a whole new market for me," says Jonathan.

Fine-tuning Dual Pixel CMOS AF and exposure

Many filmmakers prefer manual control but the fast-changing conditions meant Jonathan put all his trust in Canon's Dual Pixel CMOS AF, with 80% vertical and 80% horizontal coverage, and auto exposure to keep his pictures sharp and correctly exposed. "On the AF, I selected the 'large box' option, with slow speed and slow response – the setting was -1 for both," says Jonathan. "So it did track focus, but if anything came in front of or behind the subject, rather than jumping, it gradually rolled in and out. And given the speed of everything else that's moving in the frame, you never notice any focus jumps. You can see it tracking focus, especially in 4K. You can see the boats come into the shot, then the AF grabs onto them – they become that little bit sharper and just pop."

Jonathan set the exposure to match the changing conditions and took advantage of the Canon EOS C300 Mark II's built-in ND filters. "I programmed the iris to +1EV, because I was largely shooting in backlight, and I set a low response, so it wouldn't slam shut really quickly if the light changed," he says. "It was very gradual, so that was cool. I used two stops of ND, as even though it was a really bright day it was typically sitting around f/5 to f/8, but I had the option to open up to f/4 or to close down to f/22 if needed. That gave me flexibility. You don't realise there's a change of exposure, because it's really subtle and smooth."

To give flexibility in the grade and capture the most dynamic range, Jonathan set the Canon EOS C300 Mark II to Canon Log 2, cinema gamut with the neutral colour matrix. "Basically it's the default settings for Canon Log 2. I'm not a colourist, but I pushed the images hard. The XF-AVC codec held up really well. Unless the client demands otherwise, I will continue to shoot XF-AVC. It just works so well."

Combining the rugged Canon EOS C300 Mark II, Canon CN-E18-80mm T4.4 L IS KAS S lens and ZSG-C10 remote zoom grip, and using the camera's AF and auto exposure system, offered a simple yet effective way for Jonathan to shoot a tough assignment without a big crew. "I like things sleek and integrated, and this project was a chance for me to show that technology is at a point where we can trust it."

But for a man who admits he gets queasy even on big ferries, perhaps Jonathan's greatest achievement was shooting his stunning film while managing to avoid getting ill. "You're out in the open and you're bouncing around, and you're going that fast you can't see where you're going," he laughs. "And I didn't even get seasick!"