How DSLRs Compare to RED Cameras

"I’m sure we’re all familiar with the excitement that hits when someone is on the verge of discovering something new, when Christmas is fast approaching, or when a client tells you that your project turned out “beautifully.” That is the kind of head to toe excitement many videographers felt when Oakley billionaire Jim Jannard unveiled some astonishing details about the RED Scarlet camera back in 2008. It’s also the same kind of excitement that many digital cinematographers are feeling even now.

At first glance, this camera seemed to have it all: a 3K resolution recorded to a superior codec, virtually no compression artifacts, RAW recording, a highly modular design for added functionality, more dynamic range than you probably know what to do with, and a good price at $4,750 with a fixed lens or $2,750 without. Even with a $2,750 price tag, for a camera that can shoot at higher resolutions than anything else on the market, it was and still is a real steal.

Unfortunately, there is no fairy tale ending to this story. Unfortunately, in order to get the kind of fully functioning camera you’re used to, you would have to get a lens, a battery, an audio interface, a viewfinder, and grips for shooting. All together that high quality equipment can cost upwards of twenty grand – a very steep price for those who want to make great looking films on the cheap. Also, one of the biggest complaints about the RED camera is its post-production workflow. In order to have a chance at editing the footage from a RED camera, an editor would first have to make low resolution proxies from the original 4 or 3k files. Otherwise, these files are usually too large for any computer to handle successfully. As you’ve probably figured out already, this proxy rendering takes an awful lot of processing power and time which is often a real deal-breaker for getting projects done on a tight deadline. On the other hand though, super high resolution files above 1080p are a problem for any computer and RED founder Jim Jannard does have a knack for making very high quality equipment in which he spares no expense. As a result, you can expect to definitely get what you pay for with these products.

So is there a less expensive option that can do something relatively close? Well, the answer is…more than likely. We are probably all too aware of the benefits and downfalls of DSLRs in the market today (if not, be sure to check out more from our previous blog posts), however besides RED cameras DSLRs probably have the best chance of making any footage you shoot look just as good as film. With their long history and ubiquitous availability of interchangeable lenses, they have a real solid lead on the RED cameras. They produce great results at a good price, but are not without their own set of headaches. For instance, DSLRs have been notorious for having bad audio options with their lack of XLR ports and forced auto gain control. Also, most videos shot on DSLRs are highly compressed meaning a loss of details in dark areas and the introduction of artifacting. Also, DSLRs need accessories in order to give them a similar feel to the kinds of camcorders you are used to such as XLR inputs, shoulder mounts, and viewfinders. Also, let’s not forget the problem of “the rolling shutter” which can make vertical lines in your video look slanted when the camera is panned. This is due to the camera sensor scanning your image from top to bottom instead of all at once. This can really make video shot on a DSLR look unprofessional rather quickly.

After all of that, when it comes down to what a person should buy for shooting high quality footage, the question undoubtedly comes down to how you’re going to use it. If you are looking at making films, the RED camera, even with it’s slow transcoding times, is probably the best option since it modular, has all of the right accessories and shoots at the correct frame rates for film. However for standard HD videography, DSLR makers have a real advantage since they have good prices, cameras that are already on the market, and codecs that don’t require long processing times.

Undoubtedly, if and when DSLR manufacturers decide to fix some of the problems that have been outlined above, and if the good people at RED find ways to make their equipment even more affordable, we may very well be lucky enough to witness a new era of digital videography." ~Article by Brunsdan

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Canon Comparison - 7D vs. T2i

Three years ago, I would have never dreamed that I'd be shooting video on digital SLR still cameras.

But the technology is here, it's happened! dSLRs have become quite popular for shooting video, and for good reason. Their larger CMOS and APS-C sensors are much better than 1/3" and 2/3" CCD sensors normally found in professional/prosumer video cameras and they can take practically any lens. They're small, compact, and comparatively inexpensive.

For example, because of their large sensors and use of SLR lenses, dSLRs can achieve a shallow depth of field that video cameras simply can't get without using 35mm lens adapters. After buying a video camera, 35mm adapter, and one lens, one could be spending well over $6000. A dSLR costs half that.

Canon is leading the way in the HDSLR movement. They currently make four cameras that are some of the most popular for dSLR video right now: 1D Mark IV, 5D Mark II, 7D, and the 550D T2i. Of these, the 7D and the T2i are both under $2000. In fact, the T2i is under $1000.

A lot of people right now are thinking about switching to dSLRs, and aren't sure what camera they'd like to go with. For most, the 7D and T2i are the first options, because of their price tags. A couple of my friends recently acquired both a 7D and a T2i. I've had some time to work with both, so for those who are wanting to know what the difference is between them, this is my comparison.

Tech Specs

7D
From Canon's official specs list on the 7D:
- Sensor size = 22.3x14.9mm (APS-C)
- Recording Media = CF card
- Sensor type = CMOS
- Pixels = 18.0 megapixels
- Video codec = MOV, h.264,
- Linear PCM audio
- ISO Speeds = 100-6400, one-stop increments
- Shutter Speeds = 1/8000 to 1/60 sec.
- Monitor size & dot count = 3.0 inches, 920,000 dots
- Weight = 29 oz. (body only)
The 7D can shoot 1920x1080 HD video at 23.976 frames per second (it can shoot other frame rates and sizes, but this is the one we're interested in). It has a bitrate of 48 megabits per second (which is really good).

T2i
From Canon's specs list on the T2i:
- Sensor size = 22.3x14.9mm (APS-C)
- Recording Media = SD card
- Sensor type = CMOS
- Pixels = 18.0 megapixels
- Video codec = MOV, h.264,
- Linear PCM audio
- ISO Speeds = 100-6400, one-stop increments
- Shutter Speeds = 1/4000 to 1/60 sec.
- Monitor size & dot count = 3.0 inches, 1,040,000 dots
- Weight = 19 oz. (body only)
The T2i can also shoot 1920x1080 HD video at 23.976 frames per second, at a bitrate of around 44 megabits per second (source — bitrate info at the bottom of the page)

Compared
So, as you can see, there's not too much of a technical differences. The sensors are the same size, video capabilities are pretty much exactly the same, etc. The main differences are the weight, the monitor dot count (T2i actually has a better LCD screen resolution than the 7D), ISO control (7D has more ISO options), and the 7D has dual Digic 4 image processors while the T2i has one. Oh, and the price (T2i is almost a thousand dollars less than the 7D).

The 7D has a few more manual controls, as well. There are more ISO options than the T2i, and the ability to choose a specific color temperature for white balance. That's the tech specs, though.

When it comes down to a decision between the 7D and the T2i, it comes down to the outside of the camera.

The Outside

For one thing, the 7D is bigger than the T2i, at 16 cubic inches larger. For people with larger hands, like me, that's a good thing. The weight, too — the 7D is 10 oz. heavier than the T2i (without lenses). Generally, weight is a good thing, because it deadens shakiness and movement.

The 7D puts more of its control on the outside of the camera in buttons and dials than the T2i.

Take a look at the back of the 7D:

And here's the back of the T2i:

The first thing that stands out is the lack of the clicker wheel on the back of the T2i, replaced instead by buttons. It's actually amazing what all can be done with that clicker wheel. For one thing, it's a lot simpler than the four buttons that replace it on the T2i. In manual and video shooting mode, it controls aperture.

The layout of the buttons is different, as well. The 7D's menu buttons are on the left. The T2i's menu button is on the left, but everything else is on the right.

Take a look at another angle. 7D:

T2i:

The 7D has an incredibly useful display on the top which shows aperture, shutter speed, ISO, white balance, battery level, etc. The T2i has the mode dial on the right side (7D's is on the left side), and no display on top. The 7D also has white balance, ISO, auto-focus drive select, and LCD backlight buttons. The T2i only has an ISO button. The 7D has a switch right beside the viewfinder to switch from stills mode to video/live-view mode.

It's pretty easy to see that the 7D offers more physical manual control over shooting. The T2i was simply made more compact, and as such can't have as many external buttons or dials.

Personally, I would choose the 7D over the T2i, simply because of its size and external control. The video features between the two are almost exactly the same, so the T2i does make a great choice for anyone wishing to spend a bit less on a camera of the same image quality.
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This article was written by guest blogger - Chad Stembridge

FREE DOWNLOAD! - Walt Disney: A Christian Critique

"In the twentieth century, no man did more to shape the values of family culture for good or evil than Walt Disney. As a motivator, innovator, and filmmaker, his efforts impacted millions across the globe through his movies, theme parks, and television shows. Disney’s work helped to define the literary and cultural sensibilities of a generation of American children and introduced enduring and iconic expressions of childhood that remain with us to this day.

Yet, despite his far reaching influence, Christians have not thoroughly evaluated the worldview and accomplishments of Walt Disney from a biblical perspective. In these three powerful messages presented by Doug Phillips, Geoff Botkin, and Isaac Botkin, the listener is treated to a never-before-heard professional insight, filling that void by providing a theological critique of Disney’s legacy, offering independent filmmakers and families important lessons to be learned from Walt’s victories and failures.

Right up until Walt Disney’s death, the nineteenth-century culture of small town America was very dear to his heart, and this ideal served as his touchstone during the cultural turmoil and decline of the twentieth century. In the small community of Marceline, Missouri, Walt was shaped by sensibilities of grateful immigrants, industrious farmers, and conscientious schoolmasters. Veteran filmmaker Geoff Botkin explores Disney’s nineteenth century values—what he terms as “Walt’s ethical default position”—and makes this observation that only by understanding Disney’s core commitments will modern filmmakers be able to rightly understand his cultural achievements and legacy.

Isaac Botkin brilliantly explains that the Christian film pioneers of the twenty first century must learn from the Disney legacy’s of entrepreneurial success in a highly competivive industry. Find out what Disney wanted his staff to be and how he led them through habits of command that set technical and story standards that have yet to be surpassed."

Titles include:

• Symposium on Disney, Film and American Culture: A Theological Critique, by Doug Phillips
• The Life and Times of Walt Disney: Understanding Walt's 1899 Ethical Default Position, by Geoff Botkin
• The Rise and Fall of the Disney Studio: The Objective Pursuit of Quality in the Development of Art and Story, by Isaac Botkin

- DOWNLOAD HERE -

A Day At The Races: Canon 7D With Cooke PL Primes

"We had a great crew. Jarred from Cinema 5D who provided the fantastic Cooke lenses as well as a RED zoom and a Century Optics zoom as well as the Matte Box and filters. Chuck with his litepanels (which we didn’t need in the end), RAWworks owner Neil who is organising the event, Creative Director Jeremy and sound man Bobby…very very odd Bobby!

I mostly shot using the 25mm and 100mm Cooke S4 T2 primes. What a GORGEOUS image these lenses give you. Yes it was a lot more fiddly and time consuming using these lenses with a mattebox for NDs than my normal “run and gun” set up but it was worth it. The images below speak for themselves!

Jeremy is going to do an edit together of the material and we will premiere it my HD-DSLR masterclass on Saturday on the Warner Bros lot in Hollywood. I saw the venue today and it’s fantastic. There are still some places left so please come. You don’t need to own a camera to come, just have an interest in these camera. We will be projecting lots of cool stuff on a great big screen Your chance to see how well these cameras hold up.

One very cool thing is Illya had a wide zoom that I used on one of the frame grabs of the horses walking in circles…this is a Tokina 11-16mm modified into a PL mount lens and now cost $3500. Same optics though…show you how good that lens is!"

Below are some screen grabs of the shoot and some BTS pictures taken with my GF1 and the new Noktor.

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Filmweavers Commercial Shoot

"Three of our crew sped down to Indiana for a 2 day commercial shoot for Newborn Lifeline. It is a pro-life, pro-adoption oriented piece. Even though we could have sworn we promised ourselves we would never shoot outside in the winter again (since shooting The Penny last year in sub zero temperatures) The film included a final scene outdoors, so we had to break our promise. Yup it was cold, but everyone survived, and managed to keep a pretty good attitude!

Also, due to a number of extras not showing up we really needed some help and the Sampleys from www.take7films.com came up from Louisville to save the day. Big thank you for that guys!

This short commercial will be airing on national television in the near future, so keep an eye out!"

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More pics on the source blog post.

FlashForward – God’s Sovereignty Vs. Free Will

Please note, this is not an endorsement for the ABC Television show "FlashForward."

"The ambitious ABC Studios’ series explores the aftermath of a mysterious and inexplicable phenomenon that renders everyone on the planet unconscious at exactly the same moment. Millions die. Destruction of property and infrastructure is enormous. Yet during those few moments of global blackout, every man, woman and child is given a rare and precious gift. They get to see a brief glimpse of his or her life exactly six months in the future.

Make no mistake, FlashForward is not even remotely a Christian TV series. But it is a series that at least dares to ask some essential questions that Christians have wrestled with since the founding of the faith. Questions like how much of our lives are determined by divine fiat, and how much of our lives are the result of acts of free will? And what effect does knowing the future (prophecy) have on our present actions? Is the future set (fate), or can we alter the future by our actions (free will)?

I don’t ponder these issues in a vacuum. During our recent morning devotions my wife and I studied the story of Isaac and Rebecca. You remember – Rebecca was pregnant and having a tough go of it. She went to inquire of the Lord and was given a glimpse into the future. “And the LORD said unto her, Two nations are in thy womb, and two manner of people shall be separated from thy bowels; and the one people shall be stronger than the other people; and the elder shall serve the younger” (Genesis 25:23).

The scripture goes on to talk about Isaac loving Esau while Rebecca loved Jacob. Now, my wife and I have twins – a boy and a girl. They are totally different personalities and we love them both – differently, but equally. It’s hard for me to imagine a mother loving one of her kids more than the other. In Rebecca’s case, she loved Jacob so much that she perpetrated a lie to her husband. The result was that the son she loved fled the country and she never saw him again. The son she had left, I suspect, never talked to her again because of her betrayal. Rebecca lost both of her sons on that day.

Perhaps, on that faithful day when Rebecca went to inquire of the Lord, she got a brief glimpse of the future. She knew Jacob was destined (fate) to be the child of promise. But rather than waiting to see how God would bring that to pass, she intervened (free will), perhaps trying to help God out.

I think perhaps God could have worked things out the way He wanted without Rebecca’s help; particularly since her way of helping involved scheming and deceit. But I’m pretty sure I do the same thing on a regular basis. I hear a word from God and then do everything in my power to make it come to pass, rather than waiting to see how God will bring it to pass.

So the questions remain – is God Sovereign? Do we have Free Will? I think the answer to both of those questions is “Yes,” but I’m willing to admit that I could be wrong. Still, it is interesting that even the world outside the church is asking those questions through popular television shows.

Just my thoughts. I’d love to hear yours." ~Mike Parker
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Introducing Four Unforgettable Dramatic Adventures!

We were so Impressed! We originally bought this for our 11-year-old grandson, but wanted to review it first! My husband [and] I listened as we took a day trip a few hours away, and were riveted! Needless to say, we are keeping this one and ordering our grandson another!
—Essie

Unforgettable Adventure Awaits You!

Unforgettable adventure awaits the ready ears and imaginations of all who dare to find it. Introducing the Lamplighter Theatre Radio Drama Collection!

In this new and exciting, 4-album collection, visit the age of castles, knights, and fair maidens to meet a faithful king and his unworthy heir. Help a loving son render aid to his parents without falling prey to the love of money. Watch a little girl struggle between telling a lie and being punished by death for a crime she did not commit. And follow the perilous adventures of a young man kidnapped by Algerian pirates and forced into a world where the clash between Islam and Christianity brings certain destruction and death.

Basket of Flowers 1   Basket of Flowers 2   Sir Malcolm & Missing Prince 1   Sir Malcolm & the Missing Prince 2   The Captive 1   The Captive 2   Charlie’ Choice 1   Charlie’ Choice 2

Through March 6, the Lamplighter Theatre Radio Drama Collection is on sale for only $69 — a $16 savings! Don’t miss this special pricing on four unforgettable adventures your family will enjoy for years to come.

For decades, radio dramas entertained and inspired Americans of all ages. From masked cowboys protecting the western plains, to savvy detectives matching wits with the most ingenious criminal minds of their day, radio’s “Golden Age” created exciting worlds in the minds’ eyes of millions.

Now, with the brand-new Lamplighter Theatre Radio Drama Collection, you can enjoy the best elements of classic radio drama combined with a distinctively Christian worldview.

These audio albums make the perfect companion to chore time, on car rides, during school breaks, or even on a “Family Night” gathered around the stereo in your living room — just like families used to do!

Each album contains 2 CDs and is approximately two hours long.

To Learn More - Click Here!

Why buy the DVD?

"Some of the most frequently asked questions deal with copyright and licensing issues, in the guise of "Can I show the movie to my youth group?" and questions like that.

In college, like every other poor college student, I hated buying albums (CD's were just coming out at that point). But I'd put them on my own mix cassettes and wanted them any way, so no pirate Dan there.

Then software rolled out as the personal PC took root. $50 for that game??? Are you kidding me? So a group of us would get together and buy a game and share it, copying the manuals etc. Until I got convicted.

Software, music, movies-- I do believe it's stealing to make a copy and give it to another person. Especially when it's labeled that all over.

So what is right before God and Country and the Laws of this land? A movie DVD has a "license" on it. You're not actually purchasing a "movie" as much as purchasing the permission to display it. I'll say it another way-- when you buy the DVD, you're not buying the movie-- technically, you do not won the movie, you own the right to play it in the location and manner deemed by the license.

Home DVD generally means that you may display the movie in your home, before friends and family. There might be a number limit... that I'm not sure about.

If you're going to show it to a youth group, up at the church, you will need a public exhibition license (for Imposter, it would be here).

Now, whether or not you think it's right/wrong to use a home DVD for showing to your group at church, please keep this in mind. I take I Tim 5:8 very seriously-- I am trying to provide, through this filmmaking, for my family. I am not a wealthy person at all. The revenue that comes in from the movie gets split between PureFlix and their partners and us. Most of what we receive will go back to the investors who have believed in this project for the last few years.

Yes, this movie ministers, but filmmaking is my "tentmaking" and is how I support my family. There's not a church somewhere putting me on staff so I can make the movies. I need your help.

My hope is to be able to do the next movie. Your buying the DVD helps us. So for those few who have asked-- this is the answer to the licensing question. I do ask that you walk in integrity." ~Daniel Millican
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'Virgin America' Kills Flash as a Result of Apple/Adobe Conflict

"It’s probably not the first site to eschew Flash in favor of greater compatibility with Apple’s portable devices, but it’s one that’s definitely big enough to make waves.

Honestly, I think this is only the beginning of a new tide that will see corporations retreating away from either Adobe’s or Microsoft’s proprietary solutions for displaying animations and other advanced media elements in their websites. When the goal is to reach as many customers as possible, it only makes sense to take into account the limitations of some platforms. Flash may run on many portable non-Apple devices, but that doesn’t mean it does it well. 

Virgin’s new site is designed to let users check-in using their mobiles, using a system that issues electronic boarding passes you’ll be able to show to airport security staff. The plan is awaiting approval by the U.S. Transportation Security Authority. The site is responsible for 70 percent of Virgin’s $100 million quarterly revenue. Right now it’s advanced enough to suit the company’s needs, but Virgin does anticipate making the jump to HTML5 once it’s cleared by the W3C."
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Read the full article here.

Raw Talent Screenplay Contest

Looking for scripts for the Raw Talent Screenplay contest!

It is FREE to enter and the Grand Prize is $10,000.00!

Deadline April 1st.

Details at: www.rawtalentcontest.com
Trost Moving Pictures in association with HOSFU, LC