I found an article about these cameras the moment I knew I was going to shoot the series. It seemed like a nice experiment to combine these two things, for a few different reasons.
First of all because of the challenge: HD filming on a photo camera.
Also because of the huge boost in sales of the system all over the world. And finally, such a small device just seemed very convenient for me.
Jelle Odé had just filmed a documentary series on the 7D and I was greatly impressed by the material he showed me. It looked fantastic. Not the hard and flat images I generally see with digital formats, but rather soft and pastel colors.

The set inside the studio

We shot the series inside the studio. A gigantic set depicted the int/ext of a Spanish village in the seventies including hotel, swimming pool, sea and small streets(thanks to Gerard Loomans).
This was indeed an ideal environment to test this system.
Logically, the clients were not immediately convinced by this camera, but I was able to talk them into it because the "look" of the camera fit in so well with the setting.
Also thanks to the help of director Norbert ter Hall.

The finishing touches were done by FILMMORE. Because it was all new, we were able to experiment with many different things during shooting.
The workflow is probably not very different from that of one with other digital formats, but for me it was all fairly new.
We shot on CF cards and after each scene they were loaded and we made back-ups. At the same time everything was checked over.
Maarten van Rossum was a great help in figuring out the logistics and configuration. The rig was delivered by VOCAS, along with a variety of transformers for copying, video assistance and central input (ANTON BAUER). The lenses are from ZEISS = now still a set of Jelle (ZEISS ZE), and soon there will be a COMPACT PRIMES 2 set. I've found a very good PL-mount via Herman Verschuur. Still haven't shot with it, but it looks promising.

N 1Dmk4 rig

I chose the 1D because of the decent chip size. I think the 5D makes focusing very difficult. And here again; it's a comedy, so a small field of depth is not necessary. The 7D is somewhat less robust and often overheats, although I have yet to experience this problem. Jelle also shot effortlessly with the 7D.
The 1D shoots for 13 minutes uninterruptedly and then stops. It is possible to start shooting again directly after this pause.

Mark du Plessis works with remote focus and it seems to be quite easy for him.

I never thought we would get as far along as we did in terms of the working process and final result, which far exceeded my expectations.
There's more than enough margin with grading, and exposure is a piece of cake. There's a lot of margin and overexposure doesn't (easily) clip; although I haven't seen this so far.
It is also funny to set ASA values in function of the desired field of depth...usually it is the other way around. Without going to any extremes, 1000 ASA looks the same as 100 ASA, and syncing is done with a transmitter which supplies TC to the camera.
As you can see, there is still a lot to be said about this. It remains a curious fact; filming with a photo camera because of the desired look.